4 704 résultats
1958145327Mexico: Producciones Barbachano Ponce 1958. Draft script for the 1959 film. Presentation copy belonging to director Luis Bunuel and SIGNED by Bunuel on the front wrapper. Also laid in is a program from the film's American premiere on May 18 1960 also SIGNED by Bunuel. Blue ink holograph annotations in the same hand to the verso of the last page of the script. Also laid in are two vintage photographs: one of Bunuel getting a haircut on the set of the film and another with Bunuel seated next to cinematographer Gabriel Figueroa composing a shot in his viewfinder. All items housed in a red quarter-leather clamshell box with gilt titles. <br/><br/>Based on the 1895 novel by Benito Perez Galdos. A priest with radical but very philosophical notions leaves his order to go on a pilgrimage learning much about the nature of human suffering as his life mimics that of Jesus Christ all the way through to his untimely end. One of the mostly highly regarded films from Bunuel's Mexican period one of director Andrei Tarkovsky's ten favorite films and one of 15 religious films selected by the Vatican for their list of 45 great films celebrating the 100th anniversary of cinema. Nominated for the Palme d'Or.<br/><br/>Set in Mexico and shot there on location. <br/><br/>Green titled wrappers dated 1958 with credits for screenwriters Luis Bunuel and Julio Alejandro novelist Benito Perez Galados and director Luis Bunuel. Title page present noted as copy No. 3 in holograph pencil dated 1958 with credits for screenwriters Bunuel and Alejandro novelist Perez Galados and director Bunuel. 106 leaves with last page of text numbered 105. Mimeograph duplication rectos only. Pages Fine wrapper Very Good plus housed in a Near Fine red leather presentation binding with a few tiny bruises at the extremities.<br/><br/>Photograph 8 x 10 inches archive stamp and several holograph annotations to the verso. Near Fine.<br/><br/>Rosenbaum 1000. Producciones Barbachano Ponce unknown books
1962147016N.p.: N.p. 1962. Draft script for the 1962 film. With director Luis Bunuel's holograph pencil and ink annotations throughout noting changes and additions to dialogue and the name of Russian-American director Victor Stoloff in holograph ink to the front of the folder housing the script. Stoloff was associated with Bunuel during Bunuel's brief sojourn in America and is interviewed in the 2000 documentary "Bunuel in Hollywood." <br/><br/>Included with the script is an English translation of Bunuel's revisions.<br/><br/>An impossibly rare script for Bunuel's masterpiece and the penultimate film the director made in Mexico. An incisive eerie surrealist comedy about a group of bourgeois guests at a dinner party who realize they inexplicably cannot leave the house. Nominated for the Palme d'Or at Cannes.<br/><br/>Set and shot on location in Mexico.<br/><br/>Tall lacking wrappers and title page housed in a light blue folder. 94 leaves with last page of text numbered 94. Mimeographed rectos only. Pages Near Fine very lightly foxed to the first leaf unbound.<br/><br/>Criterion Collection 459. Ebert I. Rosenbaum 1000. N.p. unknown books
19755110Inscribed by Bertolucci in Italian to Walter Alferol on title page. Full green morocco faded to brown with debossed decoration to front cover. Marbled endpapers. 36 original tipped-in silver gelatin prints 1 color print of the film crew and 1 loose silver gelatin print. All beautifully printed. Occasional creases and warping to photographs but in very good condition otherwise. Loss to tail of spine and its leather is detached from back cover board. Discoloration to spine edge. Unpaginated. 12 1/2 x 13 3/4 inches. hardcover books
1965149987N.p.: N.p. 1965. Final Draft script for the legendary 1966 film under the original Swedish title "Kinematografi." In Swedish.<br/><br/>"Persona" was in 2020 called "the greatest film ever made" by filmmaker and essayist Paul Schrader a distinction he has considered probably as thoroughly as any cinema thinker of his generation. Schrader went on to note the ." . . the stunning feminine politics and the visual genius" of the film.<br/><br/>Two known copies of this script exist: one at the Svensk Film Institute and one at the University of San Francisco Archives. This version of the script was called Script II by Bergman was retitled Kinematografi by him and has a prefatory note by him that is not included in the published screenplay for the film a later revision the content of which differs substantially from this example.<br/><br/>Some notable distinctions between this draft and the final script the filmed version include:<br/><br/>1 A prologue consisting of only a short film strip with rapidly shifting images of nature clouds trees moon landscape followed by atmospheric sounds of words after which Nurse Alma's face emerges followed by the main narrative.<br/><br/>2 There is no boy and no hospital morgue <br/>where he wakes up and the script does not mention the famous merging of Alma's and Elisabeth's face.<br/><br/>3 There is no reference later on in the script that the film breaks during the confrontation between Alma and Elisabeth though there is a meta-filmic insert just before the two women move to the doctor's house in Scene 13.<br/><br/>4 Additional dialogue notably a fairly long passage in which Elisabeth talks about her happy and hermetically close relationship with her husband.<br/>The final script a revision that followed the one offered here was published in several languages in 1966 and has been reprinted in various forms in perpetuity ever since. This draft remains unpublished.<br/><br/>Criterion Collection 701. Ebert I. Rosenbaum 1000. Godard Histoires du cinema. Schrader Canon Fodder 9. Vogel "Film as a Subversive Art. N.p. unknown books
1946147477Culver City CA: RKO Radio Pictures 1946. Estimating script for the 1947 film dated April 3 1946. James M. Cain's ultimately uncredited rewrite of Geoffrey Homes' early draft based on Homes' 1946 novel "Build My Gallows High" which was at that time still unpublished. <br/><br/>A rare script which confirms a claim still listed as unsubstantiated by the AFI Catalog which notes: "The working title of this film was Build My Gallows High. In September 1945 RKO outbid Warner Bros. for the rights to Geoffrey Homes' . unpublished novel according to a Los Angeles Times article. . Modern sources also claim that James M. Cain rewrote Homes' script with Frank Fenton. Fenton is credited as a contributing writer by SAB but Cain's contribution has not been confirmed by contemporary sources."<br/><br/>Ultimately sole credit for the script went to Homes who would make a permanent switch from novels to screenplays after the success of the film later under his real name Daniel Mainwaring. Cain would also spend many years in Hollywood though he only received screenwriting credits on two films "Stand Up and Fight" 1939 and "Gypsy Wildcat" 1944. <br/><br/>A former private detective lives a quiet life in a small town until his past catches up with him forcing him to return to the world of crime. An unimpeachable high spot of the genre. <br/><br/>Set in Bridgeport California shot in the High Sierra Mountains of Nevada and Reno as well as locations throughout California. <br/><br/>Red titled wrappers noted as ESTIMATING SCRIPT on the front wrapper rubber-stamped copy No. 1495 dated April 3 1946 with credits for screenwriter Cain and novelist Homes. Title page integral with front wrapper. 120 leaves with last page of text numbered 120. Carbon typescript on onionskin stock. Pages Near Fine wrapper Very Good plus bound with two gold brads. <br/><br/>National Film Registry. Grant US. Hardy The BFI Companion to Crime. Selby Masterwork. Silver and Ward Classic Noir. Spicer US Classic Noir. RKO Radio Pictures unknown books
1989148416N.p.: Untitled Productions 1989. Draft script for the 1989 film belonging to and heavily annotated throughout by actor Martin Landau here under the working title "Brothers." Bound in a spring binder with "Kraft Music Hall" and Landau's name in gilt on front "The Kraft Music Hall" was a revival of the NBC variety television show with various hosts and performers from 1967 to 1971 which Landau and Woody Allen had both appeared on. <br/><br/>Front wrapper has Landau's name boldly written and whimsically illustrated with "Filmed New York CIty" and shooting months and re-shooting months all written in holograph marker and pen. Title page has Landau's name ornately illustrated at top margin followed by credits for Allen working title and cast all in holograph marker with "Release Title: Oct 13th 1989 'Crimes and Misdemeanors'" below in holograph ink all in Landau's hand. Script contains copious annotations of strikes character motivations and dialogue changes on nearly every page of dialogue or action of Landau's character Judah. Following script is a six page cast list annotated in holograph pencil.<br/><br/>Laid in are 32 pages of script revisions six of which contain annotations striking scenes dating when scenes were shot as well as character motivations by Landau in holograph ink. <br/><br/>Also laid in is Landau's contract with Untitled Productions for "Woody Allen Fall Project 1988" signed and dated March 3 1989 by Landau in holograph ink with a cover sheet dated March 1 1989 signed by associate producer Helen Robin. Lastly laid in are two call sheets with annotations in holograph ink and marker a four page Reshoot Schedule annotated in holograph marker and a five page Crew List lightly annotated in holograph marker.<br/><br/>From the estate of Martin Landau. <br/><br/>One of Allen's finest films a dark drama with comic elements interweaving two opposing stories. In one ophthalmologist Judah Rosenthal's Landau mistress Angelica Huston threatens to reveal their affair unless he leaves his wife Miriam Claire Bloom. Responding to the threat his gangster brother Jack Jerry Orbach offers to have her killed. In the other documentary filmmaker Clifford Stern Allen is hired by his pompous television producer brother-in-law Alan Alda to make a documentary about him and begins to fall in love with producer Halley Reed Mia Farrow.<br/><br/>Nominated for three Academy Awards including Best Director Best Screenplay and Best Supporting Actor for Martin Landau. <br/><br/>Set in and shot on location in New York and New Jersey. <br/><br/>Blue untitled wrappers. Title page present with a credit for screenwriter Woody Allen. 108 leaves with last page of text numbered 100. Xerographic duplication rectos only with blue and pink revision pages throughout dated 1/9/89. Pages Near Fine with silverfish damage to right side of title page wrapper Very Good plus bound with two gold brads.<br/><br/>Spring binder 10.5 x 12.5 inches Near Fine.<br/><br/>Laid in Revisions Contract and Call Sheets 8.5 x 11 inches Very Good plus to Near Fine six revision leaves extremely faded with bright holograph annotations to four.<br/><br/>Schrader Canon Fodder 39. Ebert III. Untitled Productions unknown books
1958147154Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1958. Draft script for the 1959 film belonging to actor Martin Landau with his signature in holograph pencil on top of first page and annotations in holograph ink and pencil throughout primarily making note of action and dialogue for Landau's character Leonard. <br/><br/>Martin Landau's second film role and a memorable early one as James Mason's sadistic henchman.<br/><br/>Considered to be one of Hitchcock's best films the last of four the director made with Cary Grant with a score by Bernard Hermann and a famous title sequence by Saul Bass. Nominated for three Academy Awards including Best Original Screenplay. <br/><br/>Shot in Hollywood and in various locations across the United States. <br/><br/>Title page integral with first page dated 8-12-58. 174 leaves with last page of text numbered 179. Mimeographed rectos only with pink revision pages throughout dated variously between 8-27-58 and 10-27-58. Pages very good plus with some creasing chipping and closed tears to first page and eight 10-27-58 revision pages which appear to have been originally paper clipped and later bound in.<br/><br/>National Film Registry. Godard Histoires du cinema. Grant US. Rosenbaum 1000. Penzler 101. Metro-Goldwyn-Mayer [MGM] unknown books
1981142842N.p.: N.p. 1981. Handmade vernacular conceptual journal documenting the shooting of Robert Frank's 1981 film "Energy and How to Get It" circa 1980-1981. <br/><br/>Includes tipped in ephemera drawings business cards and 46 Polaroids of Wurlitzer Robert Frank June Leaf and "Lightning" Bob. Annotations and captions throughout by Wurlitzer. Also included are 4 reference photos all likely unique from the shooting of the film: two showing both Wurlitzer and Frank one showing Wurlitzer and one of the "Enola Gay" aircraft in the film. <br/><br/>Mead Memo notebook spiral bound. Green wrappers. 4.25 x 6 inches Very Good overall tipped in photos Near Fine. Reference photos 8 x 10 inches Near Fine. N.p. unknown books
1974011575NY: Privately published 1974. Private edition. Hardcover. Near Fine. Bound musical score as performed on the opening night of February 25 1973 at theSchubert Theatre. Bound musical scores are privately published a project usually undertaken by the music preparation supervisor and then presented to producers and creative principals as a momento or official record of the music as presented opening night. This copy is legendary producer and director Hal Prince's who both produced and directed A LITTLE NIGHT MUSIC inscribed to him by Mathilde Pincus and Al Miller whose company was responsible for music supervision: April 12 1974 To Hal Price Another one to add to your collection of 'greats!' Our greatest esteem respect admiration - and love. Sincerely Mathilde and Al." It is also inscribed by composer and lyricist Stephen Sondheim: "Wyth lots of Luv - Steve" which wittily Sondheim has written with Swedish grammatical notations this musical being based on Ingmar Bergman's Smiles of a Summer Night. Typically there are about 12-18 bound musical scores per production. Never commercially sold only for private presentation. This copy especially rare in that along with Sweeny Todd it represents a highpoint in Prince and Sondheims collaboration besides being one of the highpoints in Sondheim's cannon. Squarish folio green cloth gilt titles front and spine. Privately published hardcover books
1960143066Tokyo: Kurosawa Production Company 1960. Shooting script for the legendary 1961 Japanese film. Working copy belonging to Omura Senkichi who played a small role as a traveling servant in the film with his name on the front wrapper and his annotations throughout. <br/><br/>Though not credited as such based thematically on Dashiell Hammett's 1929 novel "Red Harvest" and subsequently the basis for many other films including "A Fistful of Dollars" Sergio Leone 1964 "Django" Sergio Corbucci 1966 and "Last Man Standing" Walter Hill 1996. Director Kurosawa has been quoted as saying that many plot elements from another Hammett novel "The Glass Key" make up the film. <br/><br/>All titles and text in Japanese. <br/><br/>White perfect bound wrappers with purple and black titles. 164 pages printed on recto and verso right to left in the Japanese style with last page numbered "d-33." Mechanical duplication. Light foxing and age toning to both pages and wrapper else Very Good condition. <br/><br/>BFI 505. Criterion Collection 52. Ebert III. Grant Japan. Kurosawa Production Company unknown books
1994140620Burbank CA: Fox Broadcasting Company / Warner Brothers Television / Sweet Freedom Productions / Main Sequence Productions 1994. Archive of original scripts for all 27 episodes of "The George Carlin Show" which ran on Fox for two seasons in 1994 and 1995 with multiple drafts of each episode totaling 196 scripts. Also included are several key pieces of ephemera relating to the development and writing of the show. Altogether a thoroughly comprehensive and researchable archive detailing a writing process that attempted to digest and reconstruct the persona of one of the most iconoclastic and influential not to mention foul mouthed standup comics for mainstream viewing. From the estate of series co-creator Sam Simon. <br/><br/>One of the most important and influential television producers and directors of the last 30 years Sam Simon is best known along with Matt Groening and James L. Brooks as the co-creators of "The Simpsons." Simon won a remarkable nine Emmy Awards seven for "The Simpsons" and two for "The Tracy Ullman Show" and was nominated another ten times for his work on both those shows as well as his contributions to "Cheers" "Taxi" and "The Gary Shandling Show." <br/><br/>Created by Simon and George Carlin "The George Carlin Show" ran for two seasons on Fox from 1994 to 1995. Carlin played New York cabbie George O'Grady who when not haranguing fares spent most of his time at a bar modeled on Carlin's real life Morningside Heights haunt haranguing his fellow patrons which characteristically of the post-"Seinfeld" boom in sitcoms created around standup comics allowed the writers to incorporate elements of Carlin's stage routines into the show. In his posthumously published autobiography "Last Words" Carlin said of the show "I had a great time. I never laughed so much so often so hard as I did with the cast members" but did not get along with co-creator Simon a view Simon attributed in an interview to the show's "cancellation affecting George's attitude towards the work in retrospect" and he considered the show "a very special period of my life."<br/><br/>The majority of scripts are housed in 27 generic black ring binders with one binder per episode each containing between three and nine scripts. Binders for each episode may contain First or Writer's Drafts Table Read scripts Blue Pink Yellow Green and Goldenrod revised scripts Final Collated scripts compiled from the various revisions and As Broadcast scripts reflecting the script as it aired. <br/><br/>Also included are 18 scripts for various episodes many of which are working copies with holograph annotations edits and corrections throughout including a script for an unproduced episode co-written by cast member Anthony Starke and most importantly six drafts of the pilot episode dating from 1993 with holograph annotations and changes in several hands throughout including Carlin's giving a detailed look at the development of the pilot. <br/><br/>Several pieces of ephemera also related to the writing of the show are also part of the archive including five pages of typed and holograph notes dated 3/16/93 a Treatment script for Season One Episode Eight "George Destroys a Way of Life" dated 9/17/93 with substantial holograph annotations a treatment dated 9/17/93 for an unproduced episode titled "George Proves Something" with holograph annotations and three pages of ideas for episodes none of which were produced from staff writers Darrell Vickers and Andrew Nicholls dated 7/5/94. <br/><br/>Also included are a fax from fellow comedian Richard Lewis to Carlin dated 4/14/92 recommending two writers for the show a faxed noted signed from Carlin to Sam Simon followed by faxed two typed pages of thoughts on "creeping niceness" which Carlin has circled the "most useful" portions two packets of photocopied press clippings about the show assembled by Warner Brothers Television dated 2/1/94 and 6/6/94 respectively several holograph marker draft sketches of the show's logo and a one page faxed memo from Standards and Practices at Fox to Simon regarding the Season One episode "George Speaks His Mind" here and elsewhere in the archive referred to by the working title "George Says Fuck" an episode built around Carlin's famous "Seven Words You Can Never Say on Television" routine. <br/><br/>Finally the archive contains several pieces of physical media including five U-matic and one D2 video cassettes for various aspects of post-production on five episodes including a "Fuck Beep Test" reel from the "George Speaks His Mind" episode a one inch reel-to-reel video tape labeled "George Carlin Buttefly Logo" a 1/2 inch reel-to-reel audio tape DAT transfer of music and audio cues and a laser disc of Season One Episode Two "George Sees an Airplane" produced by Main Sequence Productions likely made to promote the show to affiliates or advertisers. <br/><br/>For further details please inquire. Provenance available on request. <br/><br/>Scripts and other paper material generally Near Fine or better. Scripts are first generation photocopies with no copied holes. Physical media appearing Fine on visual inspection. Fox Broadcasting Company / Warner Brothers Television / Sweet Freedom Productions / Main Sequence Productions unknown books
1945149147Culver City CA: RKO Radio Pictures 1945. Draft script for the 1945 film with an additional seven page addendum on pink stock with alternate endings written out in a treatment form. <br/><br/>In addition to containing an alternate ending the date on the script coincides with the takeover of the project by RKO from original producer David O. Selznick in July 1945 making it one of the earliest possible drafts to bear the RKO label. Selznick who was never happy with the film's script or casting sold it to RKO after the disastrous production of "Duel in Sun" began absorbing most of his time and money. <br/><br/>Nominated for two Academy Awards including Best Original Screenplay and Best Supporting Actor for Claude Rains.<br/><br/>Set in and shot on location in Brazil with Los Angeles County Arboretum & Botanic Garden and Santa Anita Park & Racetrack. <br/><br/>Red titled wrappers front wrapper dated July 16 1945 and rubber-stamped production No. 1490 credited to both Hecht and Hitchcock. Title page integral with the first page of text. 167 leaves with last page of text numbered 160 followed by 7 pages on pink stock numbered A-G and titled "ALTERNATIVE ENDING."<br/><br/>Mimeograph duplication all pages on white and pink onionskin stock. Pages Near Fine wrapper Very God plus with some tiny closed tears bound with three gold brads. <br/><br/>National Film Registry. Criterion Collection 137. Ebert l. Grant US. Penzler 101. Rosenbaum 1000. Selby US Canon. Selby US Masterwork. Silver and Ward Classic Noir. Spicer US. RKO Radio Pictures unknown books
1966152582N.p.: N.p. 1966. Autograph letter signed from Francois Truffaut to Alfred Hitchcock on Truffaut's personal letterhead circa 1966 on many issues but mostly regarding the reception to the French publication of the pair's landmark book "Le cinema selon Hitchcock" published the following year in the US as "Truffaut/Hitchcock". In French.<br/><br/>A meaty enthusiastic celebratory letter broadly discussing the success of Truffaut's groundbreaking 1966 book "Le Cinema selon Alfred Hitchcock" its release in English and their respective film projects. Truffaut opens the letter by noting that he has heard news of Hitchcock working on the screenplay for his 51st film "Topaz" released in 1969 and congratulates the director on the effort. <br/><br/>He quickly shifts to descriptions of the reception of their book in France favored with unilaterally good reviews: "elogieux tous sans exception" "laudatory all without exception" save what some saw as the book's excessive price-50 francs or approximately $10. Truffaut also addresses the forthcoming English and American editions of the book reassuring Hitchcock that he will be able to take a last look at the translation before publication. Regarding the English edition Truffaut notes he has made good progress with publishers Secker and Warburg including a profitable advance guarantee of 3000 pounds more than double the amount offered by American publisher Simon and Schuster. <br/><br/>As a result of the book's publication Truffaut registers a recent proliferation of Hitchcock film festivals in Paris and the French countryside but notes that Paramount appears to no longer rent Hitchcock's older films including "Rear Window" "Vertigo" and "Psycho" to distributors in France and expresses his hope that the films have not been removed from circulation in Europe. <br/><br/>Truffaut also succinctly describes his latest film "The Bride Wore Black" stating that filming will begin at the end of May in Cannes and offering to send the English translation of the script to Hitchcock. Tangential to this Truffaut mentions that he is taking another round of English classes "car je ne desespere pas d'avoir un jour une conversation directe avec vous" "because I haven't given up on having a direct conversation with you one day" in spite of the helpful mediation of their shared interpreter Helen Scott. <br/><br/>Truffaut closes the letter with a heartfelt tribute to Hitchcock: "Lorsque le livre a ete fini et que je l'ai vu imprime j'ai ressenti le meme sentiment de vide et la meme tristesse que lorsqu'on livre au public un film acheve. J'avais vecu plus de quatre ans avec et comme il s'agit de vos propros et de vos idees sur le cinema je peux dire qu'il s'agit la pour moi du meilleur livre de cinema avec les ecrits d'Eisenstein" "When the book was finished and I saw it in print I felt the same mixture of sadness and emptiness as when a completed film is released. I'd lived with the book for over four years and since it is about your words and ideas regarding film I can say that to me it is the best book about film ever written alongside the writings of Eisenstein". <br/><br/>"Hitchcock/Truffaut" remains the definitive study of Hitchcock's method a transcription of a series of interviews held by Truffaut in 1966 covering in depth every film made by Hitchcock up through "Torn Curtain" and ultimately revealing the importance of Hitchcock and Truffaut alike as evenly matched auteurs and pioneers of cinema. Altogether the letter presents a detailed and warm look into the beautiful friendship between two giants of twentieth century film.<br/><br/>Eight leaves. Varying sizes. Fine. N.p. unknown books
1946149446Culver City CA: RKO 1946. Revised Final Script for the 1946 film with stamps "Revised Final Script" "Please Return to RKO Story Files" and production number "1838" on front wrapper. Carbon typescript on onionskin.<br/><br/>Based on Philip Van Doren Stern's 1943 short story "The Greatest Gift" about a man at the end of his rope during Christmas. Generally considered one of the greatest films ever made and nominated for five Academy Awards including Best Picture. <br/><br/>Shot on location in California. <br/><br/>Pink titled wrappers noted as REVISED FINAL SCRIPT on the front wrapper rubber-stamped production No. 1838 with credits for Frank Capra. 167 pages onionskin stock with last page of text numbered 167. Carbon typescript rectos only. Pages Near Fine wrappers Very Good plus bound with three gold brads with washers. RKO unknown books
1942151348Santa Ana CA: RKO Radio Pictures 1942. Final Draft screenplay for the 1942 film. Copy belonging to legendary screenwriter Dudley Nichols inscribed by Nichols to Los Angeles Times film critic Phil Scheuer on the title page: "By Dudley Nichols / Confidential! / For Phil Scheuer from D. Nichols-with admiration." Nichols' ownership name is also in holograph pencil at the top right corner.<br/><br/>Renoir's second American feature an antifascist propaganda film following a meek schoolteacher in a German-occupied European country who is falsely accused of murder and forced to take a stand against the Nazis and their collaborators. <br/><br/>At the peak of his career Nichols worked with many key Golden Age directors including John Ford George Cukor Howard Hawks Fritz Lang and of course Jean Renoir. He was a founding member of the Screen Writers Guild and is best remembered for "The Informer" 1935 for which Nichols won an Academy Award "Bringing Up Baby" 1938 "Stagecoach" 1939 "For Whom the Bell Tolls" 1943 "Scarlet Street" 1945 "And Then There Were None" 1945 "The Bells of St. Mary's" 1945 and "The Tin Star" 1957. He continued to write prolifically for film up until the time of his death in 1960. <br/><br/>Housed in a custom quarter-leather clamshell box. <br/><br/>Pink titled wrappers noted as FINAL on the front wrapper rubber-stamped copy No. 104 dated OCTOBER 2 1942 with credits for director Jean Renoir and screenwriter Dudley Nichols. Distribution page present with receipt removed. Title page integral with the front wrapper. 169 leaves with last page of text numbered 162. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound with three gold brads. RKO Radio Pictures unknown books
1960145469London: Warwick Film Productions 1960. First Draft script for the 1960 UK film. File copy belonging to the film's director Ken Hughes with a typescript note tipped on to the title page requesting its return to the director and noting it is the only script in existence for the film. <br/><br/>Peter Finch delivers a strong performance as the inimitable author Oscar Wilde in this film about Wilde's sodomy trial after his affair with Lord Alfred Douglas lifted in large part from the historical court records. One of two films about Wilde released in May of 1960 the other being director Gregory Ratoff's "Oscar Wilde." In order to compete with the other Wilde film production on "The Trials of Oscar Wilde" was made in only nine weeks from start to finish with filming wrapping a mere two weeks before the London opening. Composer Ron Goodwin was recording music before scenes were filmed most scenes were filmed in one take and four editing rooms were set up working in parallel during principal photography in order to deal with the rushed timeline. <br/><br/>Shot on location in England. <br/><br/>Green wrappers with a typescript title label. Title page present dated 28th January 1960 noted in holograph ink as First Screenplay. 210 leaves with last page of text numbered 208. Mimeograph duplication rectos only. Pages Very Good plus wrapper Very Good bound internally with two spring binder clips. Warwick Film Productions unknown books
1959133731Burbank CA: Warner Brothers 1959. Draft script for the 1960 film "Ocean's Eleven" seen here as "Oceans Eleven or And the Angels Sing." Copy belonging to actor Peter Lawford with his name to the front wrapper and his holograph annotations throughout. Lawford owned the rights to the film and accompanying this script is a signed note written on his wife's stationery that reads: "Oceans 11 / $10000 / 50-50- / P. Lawford" a copy of a contract between Lawford and talent agent Milton Ebbins and a clipping of a full-page advertisement for the film from "Variety" magazine. <br/><br/>A classic and well-loved heist film "Ocean's Eleven" is the quintessential Rat Pack picture in which a group of World War II veterans attempts a series of high-profile casino robberies in Las Vegas on New Year's Eve. Steven Soderbergh directed a popular 2001 remake of the film with two sequels starring George Clooney Brad Pitt and Matt Damon. <br/><br/>Set in Las Vegas and Los Angeles and shot on location in both cities. <br/><br/>Pale blue titled wrappers. Title page present. 162 leaves mimeograph duplication with white undated revision pages throughout labeled REVISED. Pages about Fine wrapper about Fine bound internally with three gold brads.<br/><br/>Lee The Heist Film. Warner Brothers unknown books
1972145005Burbank CA: Warner Brothers 1972. Original maquette demonstrating an early poster design for the 1973 film featuring a vintage silver gelatin photograph of the legendary streetlit scene of Father Merrin's first arrival to Georgetown in the film mounted to the poster.<br/><br/>A minimal design without the credits information seen in the completed original "purple style" poster variant and with a proposed but ultimately unrealized release date of Christmas Day shown at the bottom margin. This maquette compares both to the "purple style" poster in its use of said purple text but also to the original black and white "special poster" design both in size and compositional austerity. The "special poster" measured 25 x 19 inches as opposed to the standard 27 x 41 inches for the one sheet and stated nothing but the film's title and the stark photo of Father Merrin. <br/><br/>Based on the 1971 novel by William Peter Blatty and written for the screen by Blatty. One of the great genre films of the 1970s that accomplished the uncommon feat of being an over-the-top sensation upon its release and gaining subsequent status as a classic with a strangeness and depth supplied by Ellen Burstyn and Max von Sydow that only increases with repeated viewings. Another distinction was that it walked away with two Oscars including Best Screenplay for Blatty along with eight nominations including Best Picture a feat nearly unheard for a horror film. <br/><br/>Set in Washington DC and shot on location in Washington DC notably Georgetown University New York City and Mosul Iraq. <br/><br/>18 x 12.5 inches mounted on a 30 x 20 inch mat. Black with the vintage black and white photo of Father Merrin affixed at the center and a hand painted release date. Title letters are hand cut from purple paper and affixed in place. Good condition with water damage to the bottom three inches of the mat and with soil and loss of glue adhesion to the white mat. Archivally matted and framed in a museum-quality frame with UV glass.<br/><br/>National Film Registry. Clover "Men Women and Chainsaws. Warner Brothers unknown books
1949143058Tokyo: Film Art Association 1949. First Draft script for the 1949 Japanese film noir. Holograph ink and pencil annotations on two leaves. Text in Japanese. <br/><br/>Generally considered to be the greatest film noir made in Japan and hugely influential on American film noir of the 1950s and 1960s. <br/><br/>White titled wrappers. 96 leaves with last page of text numbered 96. Mechanical duplication. Toning due to aging throughout wrapper split at spine with mild foxing otherwise Good condition. <br/><br/>BFI 534. Criterion Collection 233. Grant Japan. Selby Japan. Spicer Japan Classic Noir. Film Art Association unknown books
1971147168Beverly Hills CA: E-K-Corporation / United Artists 1971. First draft script for the 1973 film written nine months before the production began.<br/><br/>From the estate of film producer Elliott Kastner whose best known credits include "The Missouri Breaks" Arthur Penn 1976 and "Heat" Michael Mann 1996.<br/><br/>Based on Chandler's 1953 novel the sixth and penultimate Philip Marlowe book. Screenwriter Leigh Brackett who also co-wrote the screenplay for "The Big Sleep" 1946 updated not just the setting from the 1950s to the 1970s but the attitudes themes and relationships as well. The result was less of a straight adaptation than it was a satire of the traditional detective story a New Hollywood classic. <br/><br/>Shot on location in Los Angeles Malibu Hollywood and Mexico<br/><br/>Black titled Studio Duplicating Service Inc. wrappers. Title page present dated September 1971 noted as First Draft with credits for screenwriter Leigh Brackett. 109 leaves with last page of text numbered 108. Mimeographed rectos only. Pages Near Fine wrapper Near Fine bound with two gold brads.<br/><br/>Grant US. Hardy BFI Companion to Crime. Silver Classic Noir. Spicer US. E-K-Corporation / United Artists unknown books
1933143459Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1933. Collection of 70 vintage double weight reference photographs from the 1933 film including seven of cast and crew at work on the set three of which feature director Tod Browning. Also included is a later print of a fourth image of Browning on the set. From the estate of Tod Browning housed in a Kodak photographic paper box with his name in holograph pencil on the lid. <br/><br/>Based on an unpublished play by John W. McDermott about a pair of construction workers one a romantic the other a ladies' man who tries to prevent his friend from rushing into marriage with a con artist ex out to steal his friend's nest egg with dangerous consequences. A lesser known film and rare comedy from Browning. <br/><br/>8 x 10 inches. Very Good plus. <br/><br/>For complete collation details please inquire. Metro-Goldwyn-Mayer [MGM] unknown books
1986132794Universal City CA: Universal Pictures 1986. Archive of three title card maquettes hand lettered by Harold Adler for the 1963 film. Also included are two fascinating autograph letters both elaborately designed and executed in a calligraphic style from Adler to author illustrator and editor Fridolf Johnson relating to Adler's work with Hitchcock. <br/><br/>Harold Adler was a calligrapher who created hand lettered titles on over 100 films worked frequently with Alfred Hitchcock and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "The Birds" 1963 his credits include "Comanche!" 1956 "The Man with the Golden Arm" 1955 "The Seven Year Itch" 1955 "Carmen Jones" 1954 "Psycho" 1960 "In the Heat of the Night" 1967 and "Justine" 1969. <br/><br/>In 2012 an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation Kansas City. <br/><br/>In the first letter dated May 16 1986 Adler describes after touching on other topics meeting Hitchcock and then presenting him with layout ideas for the titles. He then goes into detail regarding his answer to a question about the techniques of artist Eric Gill stating that Hitchcock "was amazed" by this answer and after that would "request 'to be sure to bring that nice young man along" meaning Adler whenever he had a job for Adler's firm. <br/><br/>The second letter dated June 10th 1986 focuses almost exclusively on Adler's work on "The Birds" going into some detail regarding both the creative and technical processes of producing hand lettered titles for films. He also describes Hitchcock as "an unusual person to work with. He was a master at what he did knew what he wanted and smoked the finest cigars." He then concludes the letter with some brief remarks on how his approach to title lettering evolved over the course of his career. <br/><br/>The letters themselves are works of art executed in a variety of inks in Adler's detailed penmanship with Johnson's name on each in particular receiving full calligraphic treatment. <br/><br/>Also included are draft title cards for the film stylistically similar to each other but much different from the titles used in the finished film. Two of the cards are marked as "camera ready" in holograph colored pencil with titles executed in white paint on black board. The third card photo stat on black paper which accompanied the June 10th letter has been annotated by Adler on both the recto and verso explaining the in more detail the technical process of putting the lettering on film. <br/><br/>Overall a significant collection of material illuminating a little explored aspect of film design with a direct and significant connection to a seminal work by a director known for personally overseeing all aspects of production. <br/><br/>Each letter 19 x 24 inches single leaf rectos only. May 16th letter folded twice for mailing June 10th letter folded. Two long diagonal creases to the May 16th letter else both are Fine. Original mailing envelope for the May 16th letter included. <br/><br/>"Camera ready" title cards 22 x 14 inches. Lightly rubbed and about Near Fine. Third card 18 x 4 inches. Near Fine. Universal Pictures unknown books
1939147520Los Angeles: Selznick International Pictures 1939. Early Continuity script pre-production stamped "TEMPORARY" with a credit for Alfred Hitchcock's wife and frequent screenwriter Alma Reville. "TEMPORARY" script includes screenwriting credit for Michael Hogan who along with Philip MacDonald were given adaptation credits in the final film.<br/><br/>Alfred Hitchcock's first American project the elegant dreamlike adaptation of Daphne du Maurier's 1938 novel of the same name about a young woman who marries a mysterious aristocratic widower and must contend with the spectral influence of the former mistress of the house the eponymous Rebecca. The film was the start of Hitchcock's work in Hollywood under contract with producer David O. Selznick a collaboration which produced six films in total including "Spellbound" 1945 "The Paradine Case" 1947 and "Under Capricorn" 1949. Although Selznick initially argued for "Rebecca" to remain fully faithful to the plot of the novel the Production Code Administration forbade murder to go unpunished and as a result the film's ending differed from du Maurier's-a change which purportedly angered Selznick so strongly that he considered releasing the film without code approval. Upon its release the film was nominated for eleven Academy Awards winning two for Best Picture and Best Cinematography.<br/><br/>Set on the French Riviera and southwest England shot partially on location in Big Sur Palos Verdes and Point Lobos State Natural Reserve California.<br/><br/>In a custom quarter leather clamshell box. <br/><br/>Blue titled wrappers stamped TEMPORARY on the front wrapper dated August 24 1939 with credits for novelist Daphne du Maurier continuity for Alama Reville and screenwriters Joan Harrison Michael Hogan and Robert Sherwood. Distribution page present with receipt intact dated August 24 1939. 163 leaves with last page of text numbered 162. Mimeographed rectos only. Pages Near Fine wrapper Very Good plus with several small closed tears and front wrapper separating at top punch hole bound with two gold brads.<br/><br/>National Film Registry. Criterion Collection 135. Grant US. Penzler 101. Rosenbaum 1000. Selby US. Spicer US. Selznick International Pictures unknown books
1942149240Universal City: Universal Pictures 1942. Archive of three scripts and one post-production script for the 1942 film.<br/><br/>First is a First Draft script under the working title "'Sherlock Holmes' #2" by screenwriters Edward T. Lowe and Scott Darling dated March 24 1942. Ribbon copy typescript on onionskin with annotations in holograph pencil on several pages inquiries about plotline question marks as well as dates and name of screenwriter Darling. Bound in preceding script are: A two-page carbon typescript breakdown of the story in 21 points with annotation of "1st rough draft" and "One 3/24/42" in holograph pencil in upper right of first page. A ribbon copy typescript "continuity" breakdown of locations and sequences in ten points dated 4/6/42. A ribbon copy typescript "comments on Sherlock Holmes #2" broken into nine points dated 4-6-42 and a three page ribbon copy typescript synopsis dated 3/24/42.<br/><br/>Second is a Third Draft script under the working title "'Sherlock Holmes' #2" crediting screenwriter Scott Darling on front wrapper and Edward T. Love and Scott Darling on title page dated April 22 1942. Annotation in holograph pencil of "mimeographed pink" on lower right of front wrapper. Ribbon copy typescript on onionskin with several annotations in red or graphite holograph pencil question marks an asterisk underlines and screenwriter S. Darling's name and date "4-27-42." <br/><br/>Third is a Draft script under the working title "Sherlock Holmes Fights Back" with name of screenwriter Edmund L. Hartmann on front wrapper. Title page credits to "Additional Changes by Edmund L. Hartmann" and screenwriters Scott Darling and Edward T. Lowe dated May 22 1942. Carbon typescript with mimeograph duplication revision pages. Bound in preceding script is a page describing concept for "The Miss Bently School for Girls" with photograph affixed illustrating concept. Annotations in red and graphite holograph pencil throughout noting dialogue locations shots characters as well as strikes and dates.<br/><br/>Lastly a Post-production Dialogue and Contitnuity script dated August 6 1942 with single annotation in holograph ink on front wrapper.<br/><br/>Loosely based on the 1903 Sherlock Holmes short story "The Adventure of the Dancing Men" by Sir Arthur Conan Doyle.<br/><br/>The fourth Sherlock Holmes movie starring Basil Rathbone and Nigel Bruce and the second produced at Universal Studios. Preceded by "Sherlock Holmes and the Voice of Terror" 1942 directed by John Rawlins and followed by "Sherlock Holmes in Washington" 1943 also directed by Roy William Neill who would go on to direct all subsequent Holmes films at Universal.<br/><br/>Watson and Holmes transplanted from their usual Victorian setting now in England in the midst of WWII have to protect Swiss scientist Dr. Franz Tobel and his invention an advanced bomb site from falling into the hands Nazi Germany as well as Holmes' arch-nemesis Professor Moriarty Lionel Atwill. The first Holmes film to feature Inspector Lestrade Dennis Hoey of Scotland Yard.<br/><br/>March 24 1942 script "'Sherlock Holmes' #2":<br/>Gray titled wrappers dated March 24 1942 with credits for screenwriters Edward T. Lowe and Scott Darling. Title page integral with first page dated 3/24/42 noted as 1st draft screenplay with credits for screenwriters Lowe and Darling. 103 leaves with last page of text numbered 96. Ribbon copy typescript on onionskin rectos only. Pages Near Fine wrapper Very Good with chipping and closed tears to extremities and one large 4.5 inch closed tear on bottom of front wrapper bound with three gold brads.<br/><br/>April 22 1942 script "'Sherlock Holmes' #2":<br/>Gray titled wrappers noted as THIRD DRAFT on the front wrapper dated April 22 1942 with credits for screenwriter Scott Darling. Title page integral with first page with credits for screenwriters Edward T. Lowe and Scott Darling. 110 leaves with last page of text numbered 110. Ribbon copy typescript rectos. Pages Near FIne wrapper Very Good with closed tears and chipping at extremities bound with three gold brads.<br/><br/>May 22 1942 script "Sherlock Holmes Fights Back":<br/>Gray titled wrappers with credits for screenwriter Edmund L. Hartmann. Title page present dated May 22 1942 with credits for Additional Chages by screenwriter Edmund L. Hartmann screenwriters Scott Darling and Edwart T. Lowe and author Sir Arthur Conan Doyle. 107 leaves with last page of text numbered 100. Carbon typescript with mimeograph duplication revision pages rectos only with pink revision pages throughout undated. Pages Near Fine wrapper Very Good with large closed tear to front wrapper and chipping and closed tears to extremities bound with three gold brads.<br/><br/>script:<br/>Titled self wrappers noted as DIALOGUE CONTINUITY on the front wrapperdated August 6 1942 with credits for director Neill. 109 leaves. Mimeograph duplication rectos only. Pages Near Fine bound at top with two gold brads. Universal Pictures unknown books
1897139206N.p.: Veriscope 1897. Two vintage fragments from a 63mm film print of the 1897 boxing match between "Gentleman" Jim Corbett and Bob Fitzsimmons. The first fragment consists of six frames depicting the fighters in a clinch while the second consists of four frames depicting the fighters in the center of the ring about to trade punches. <br/><br/>At over 100 minutes the film is the first feature length release anywhere and with an aspect ratio of 1.65:1 the first widescreen film ever produced. Though fragments such as this survive the film in its entirety is considered lost. <br/><br/>A five frame fragment is held the National Media Museum in the UK and approximately 19 minutes are available for viewing but OCLC locates no fragments in institutions. <br/><br/>The heavy weight title bout took place on March 17 1897 in Carson City Nevada which legalized boxing specifically to host this fight beginning the long and storied relationship between the Silver State and the sweet science. Boxing was already a popular subject for filmmakers however these were short films generally of single rounds. Using the new Latham loop technology which he claimed to have invented director Rector shot the Corbett-Fitzsimmons fight continuously using three adjacent ringside cameras with each camera capable of shooting six minutes of footage before reloading. In total approximately 11000 feet of film was shot over all 14 rounds of the contest. In addition to length the film distinguished itself from the boxing films of the time by presenting an introduction to the fight by former champion John L. Sullivan and his manager the fighters entering the ring in their robes the fighters resting between rounds and in later releases the immediate aftermath of the fight all of which are standards of boxing broadcasts to this day. <br/><br/>On release the film became a sensation and gained wide and lasting popularity proving the financial viability of feature length films as well increasing the public's interest in both motion pictures and boxing becoming a landmark in the history of film and sports. <br/><br/>Also included is a flyer for a showing of the film on September 21 1897 at the Fulton Opera House in Lancaster PA including a brief synopsis of the action. <br/><br/>First film print 2.5 x 7.25 inches. Very Good with chips to some of the sprocket holes on the right edge and to the upper right corner of one frame a 3/4 inch closed horizontal tear to the bottom frame and a bit of accompanying loss to the image and a vertical scratch running through the left edge of each frame. <br/><br/>Second film print 2.5 x 4.75 inches. Very Good plus with vertical scratches running through each frame. <br/><br/>Flyer 4.25 x 7.25. Near Fine. Light horizontal and vertical creasing from being folded light edgewear. <br/><br/>Film strips encapsulated in mylar. Housed in a custom quarter leather clamshell box. <br/><br/>National Film Registry. Veriscope unknown books
