4 698 résultats
1946171013Burbank CA: Warner Brothers 1946. Two vintage reference photographs from the 1946 film one showing director Robert Florey with a camera crew including James Wong Howe behind the camera the other showing Florey with actors Robert Alda and Andrea King. <br /> <br /> Both with photographer stamps on the verso and both with annotations in manuscript pencil in Florey's hand to same one noting "1945-Juin / avec mon operateur chinois James Wong Howe" "1945-June / with my Chinese camera operator James Wong Howe" the other noting "Decembre 1945" "December 1945".<br /> <br /> Born in Taishan China James Wong Howe immigrated to the US at the age of five. He began his career in Hollywood during the silent era as an assistant to Cecil B. DeMille and made his first big break with the pre-Code film "Transatlantic" 1931. He would go on to become one of the most highly sought-after cinematographers pioneering a number of filming techniques including the use of chiaroscuro wide-angle lenses and deep-focus camera work. He earned ten Academy Award nominations for Best Cinematography over the course of his seven-decade career winning twice for "The Rose Tattoo" 1955 and "Hud" 1963.<br /> <br /> Based on the 1919 short story by W.F. Harvey. A wealthy disabled pianist with an interest in the occult is found murdered in his Italian villa leading local villagers to suspect evil forces involved in his death. Peter Lorre's final film for Warner Brothers ending a five-year involvement. <br /> <br /> 8 x 10 inches. Very Good plus lightly toned to the margins.<br /> <br /> Grant UK. Selby UK. Spicer UK. Warner Brothers unknown
1946153990Burbank CA: Warner Brothers 1946. Vintage reference photograph of director Robert Florey arranging a shot with actor Peter Lorre on the set of the 1946 film. Printed mimeo snipe affixed to the verso along with a Warner Brothers stamp the stamp of photographer Mac Julian and a provenance stamp.<br /> <br /> Based on the 1919 short story by W.F. Harvey. A wealthy disabled pianist with an interest in the occult is found murdered in his Italian villa leading local villagers to suspect evil forces involved in his death. Peter Lorre's final film for Warner Brothers ending a five-year involvement.<br /> <br /> 10 x 8 inches. Near Fine.<br /> <br /> Grant UK. Selby UK. Spicer UK. Warner Brothers unknown
1967147239Los Angeles: Gershwin-Kastner Productions 1967. First Draft script and a Revised Estimating script for the 1968 film. The First Draft script is early written well over two years before the film's release. The Revised Estimating script is on all yellow stock except for distribution page white and pink "This Script Is Not Final and Is Given to You for Advance Information Only" page. Written a year prior the film's release the Revised Estimating script is only 79 pages ending with "PART II TO FOLLOW." <br /> <br /> From the estate of film producer Elliott Kastner whose best known credits include "The Long Goodbye" Robert Altman 1973 "The Missouri Breaks" Arthur Penn 1976 and "Heat" Michael Mann 1996.<br /> <br /> A workaholic manufacturer meets a carefree young woman who takes lovers for a period of one month in order to help them get over their problems though complications ensue when he agrees to be her "November." Remade in 2001 directed by Pat O'Connor and starring Keanu Reeves and Charlize Theron.<br /> <br /> Set in and shot on location in Manhattan and Brooklyn New York. <br /> <br /> First draft script:<br /> <br /> Blue titled wrappers dated July 9 1965. Title page present dated 7/9/65 noted as First Draft with credits for screenwriter Herman Raucher. 135 leaves with last page of text numbered 134. Offset duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with three silver brads.<br /> <br /> Rev. Estimating script:<br /> <br /> Beige titled wrappers noted as REV. ESTIMATING SCRIPT on the front wrapper rubber-stamped copy No. 65 dated February 1. 1967. Distribution page present with receipt intact. Title page present dated 2/1/67. 83 leaves with last page of text numbered 79. Offset duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with two gold brads. Gershwin-Kastner Productions unknown
1969147017London: Columbia British Productions 1969. Draft script for the 1970 British film. Cinematographer Douglas Slocombe's name written and underlined in manuscript ink on the title page as well as an encircled "71" in red manuscript marker. <br /> <br /> Based on Janice Elliott's 1967 novel about cousins born on the same day to twin sisters. Inseparable and maybe in love they agree to find suitable romantic partners for each other. Nominated for the Palme d'Or.<br /> <br /> Set in and shot on location in England Spain and Sweden. <br /> <br /> ornamental embossed titled wrapper. Title page present dated 1969 with credits for screenwriter Peter Draper and novelist Janice Elliott. PAGES leaves with last page of text numbered 111. Mimeograph duplication rectos only. Pages Near Fine wrapper Very Good plus bound internally with three flat metal brads. Columbia British Productions unknown
1973161971Los Angeles: Paramount Pictures 1973. Three vintage studio still photographs from the 1973 film. Each photograph with printed mimeo snipe affixed to the verso and one provenance stamp on the verso. <br /> <br /> A gritty crime thriller about a racist Irish cop who is forced to turn in his badge after killing a Puerto Rican suspect while in pursuit of the man that killed his former partner. The second film based on the experiences of real-life New York policeman Eddie Egan following William Friedkin's 1971 film "The French Connection" two years prior. <br /> <br /> Set and shot on location in New York. <br /> <br /> 8 x 10 inches. Very Good plus. Paramount Pictures unknown
1965132145Burbank CA: Warner Brothers 1965. Estimating script for an unproduced film. <br /> <br /> The story of a small contingent of militant mercenaries who attempt to stir up a conflict between Cuba and the United States by piloting a hostile decoy Navy ship into enemy waters off Key West only to be thwarted by the actual Navy and a few well-meaning American citizens taken hostage. No doubt mirroring some of the public's concerns at the time given the tenuous peace established by the Cuban Missile Crisis the film remained unproduced perhaps considered too sensationalist or close to home. Screenwriter Dozier would go on to write largely for television including episodes of "Batman" and "Harry O."<br /> <br /> Tan titled wrappers noted as ESTIMATING on the front wrapper rubber-stamped copy No. 23 dated April 2 1965. Distribution page present with receipt intact. Title page present dated 4/1/65 with credits for screenwriter Dozier. 136 leaves mimeograph on yellow stock. Pages about Fine wrapper Very Good plus bound internally with two gold brads. Warner Brothers unknown
1964166111Shepperton UK: Lippert Films 1964. Draft script for the 1964 British film copy belonging to Art Director George Provis with his name and the date "8th May 1964" written on the front wrapper.<br /> <br /> George Provis was a British Art Director and Production Designer who began his career working on quota quickies low budget features made to comply with Britain's Cinematograph Films Act of 1927 in the 1930s. After the Second World War Provis was appointed by British film producer Sydney Box to head the art department at Gainsborough Pictures and is credited on over 120 films.<br /> <br /> Leslie Nielsen stars as a former OSS officer living in London who travels to Paris disguised as a photographer's assistant in order to deliver a secret tape reel after a former colleague with a decoy of the tape is killed.<br /> <br /> Shot on location in London. <br /> <br /> Yellow titled wrappers. Title page present. 84 leaves with last page of text numbered 88. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with two flat metal brads. Lippert Films unknown
1984147136Beverly Hills CA: Walter Shenson-Robert Dornhelm 1984. Second Draft script for the 1986 film. With a single manuscript ink annotation on the front wrapper and a few copied manuscript annotations to page 59 and 60 noting grammatical revisions. <br /> <br /> A young pizza delivery worker falls for his new roommate a single mother who wants to be an actress but can only find work as a telegram-singing stripper. Meanwhile their next door neighbor an Austrian bodybuilder idolizes Arnold Schwarzenegger and dreams of true love.<br /> <br /> Set and shot on location in Echo Park Los Angeles and Vienna Austria.<br /> <br /> Blue untitled wrappers. Title page present dated May 1 1984 noted as Second Draft with credits for screenwriter Michael Ventura. 122 leaves with last page of text numbered 121. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with three gold brads. Walter Shenson-Robert Dornhelm unknown
1984166545Hollywood: Paramount Pictures 1984. Second Draft script for the 1984 film. Annotation in manuscript ink on the title page noting copy No. 23. Six revision pages and 30-page location breakdown sheet laid in with the script. <br /> <br /> Through multiple twists of fate two strangers in New York become friends soon realizing they are developing romantic feelings for each other-although both are married with families. Loosely based on David Lean's 1945 film "Brief Encounter." <br /> <br /> Set and shot on location throughout New York City.<br /> <br /> Dark red titled Studio Duplicating Service wrappers with credit for screenwriter Michael Cristofer on the front wrapper. Title page present dated January 10 1984 noted as Second Draft with credit for Cristofer. 124 leaves with last page of text numbered 117. Xerographic duplication rectos only with salmon revision pages laid in at the rear of the script dated 4/7/84. Pages Very Good plus wrapper Very Good plus bound with two gold brads. Paramount Pictures unknown
1979160041N.p.: N.p. 1979. Third Draft script for the 1981 film with rainbow revisions. Laid in with the script are two additional yellow revision pages dated 3/28/80. <br /> <br /> Based on the 1977 novel by John Gregory Dunne who with his wife Joan Didion wrote the screenplay for the film. Loosely based on the notorious 1947 Black Dahlia murder about a homicide detective investigating the brutal murder of a young woman in Los Angeles. <br /> <br /> Set and shot on location in Los Angeles. <br /> <br /> Blue titled wrappers. Title page present dated November 29 1979 noted as Third Draft with credits for screenwriters John Gregory Dunne and Joan Didion. 136 leaves with last page of text numbered 121. Xerographic duplication rectos only with rainbow revision pages throughout dated between 1/9/80 and 3/24/80. Pages Fine wrapper Near Fine bound with two gold brads.<br /> <br /> Housed in a custom beige clamshell box. N.p. unknown
1988142395Los Angeles: Columbia Broadcasting System CBS 1988. Third Draft script for the 1988 television film originally broadcast on CBS. Copy belonging to actor Brandon Marsh who portrayed Tommy with annotations in manuscript ink related to his role. <br /> <br /> Country musician John Denver stars as John Clayton a disillusioned CIA agent who retires to become a bush pilot in the Alaskan wilderness with his best friend. When his friend is murdered and branded a bootlegger Clayton works to solve the crime and clear his name. <br /> <br /> Set in Alaska shot on location in British Columbia CA. <br /> <br /> White titled wrappers. Title page present dated Februay 5 1988 noted as THIRD DRAFT with credits for screenwriter Michael Eric Stein. 117 leaves with last page of text numbered 115. Xerographic duplication first generation. Pages Near Fine wrapper Near Fine bound with two gold brads. Columbia Broadcasting System [CBS] unknown
1981146142Beverly Hills CA: Orion Pictures 1981. Vintage studio still photograph of Sidney Lumet and Treat Williams on the set of the 1981 film. French mimeo snipe on the verso. <br /> <br /> Based on Robert Daley's 1978 nonfiction book of the same name. New York detective Daniel Ciello Treat Williams joins the Department of Justice to help put an end to police corruption. Along the way he uncovers a conspiracy and finds himself getting closer to the heart of the corruption than he anticipated. <br /> <br /> Shot on location in New York City. <br /> <br /> 10.25 x 8 inches. Near fine some edgewear. <br /> <br /> Spicer US Neo-Noir. Orion Pictures unknown
1986146118Los Angeles: RLC/Finnegan 1986. Shooting script for the television film here under the working title "Hoover" first aired on Showtime on January 11 1987.<br /> <br /> A biopic documenting the rise to power and final years of J. Edgar Hoover the long-standing and controversial director of the Federal Bureau of Investigation. Loosely based on William C. Sullivan's 1979 memoir "The Bureau: My Thirty Years in Hoover's FBI."<br /> <br /> Set in Washington DC<br /> <br /> Gray titled wrappers. Title page present dated March 14 1986 noted as SHOOTING DRAFT with credits for director and screenwriter Robert Collins. 117 leaves with last page of text numbered 114. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine with some foxing and light fading to the extremities bound with two gold brads. RLC/Finnegan unknown
1970157621N.p.: Abrams and Parish 1970. Vintage studio still photograph from the 1970 film. <br /> <br /> A sexploitation melodrama about the cruelties and perversities of a group of politicians in the days leading up to an election. <br /> <br /> 10 x 8 inches. Near Fine. Abrams and Parish unknown
1971153167N.p.: N.p. 1971. Treatment script for an unproduced film.<br /> <br /> Based on the 1957 novel by Robert Bright. In postwar France an art collector discovers clues to the whereabouts of a major masterpiece long considered lost to time and sets off in pursuit of the treasure. <br /> <br /> Set in Paris. <br /> <br /> Yellow titled wrappers. Title page present with credits for screenwriter Tim Michael and novelist Robert Bright. 39 leaves with last page of text numbered 37. Mimeograph duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. N.p. unknown
1966148322N.p.: N.p. 1966. Vintage French lobby card from the 1966 film. <br /> <br /> Revered as one of the masterpieces of cinema Robert Bresson follows a donkey Balthazar through his life as he is passed from owner to owner most treating him cruelly. <br /> <br /> Set in and shot on location in Yvelines France. <br /> <br /> 11.75 x 9.25 inches. Very Good plus with pinholes and creasing to corners. <br /> <br /> Criterion Collection 297. Godard Histoires du cinema. Rosenbaum 1000. Ebert II. N.p. unknown
1974150217N.p.: N.p. 1974. Vintage oversize borderless reference photograph of Robert Bresson on the set of the 1974 film one of the film's jousting sequences. Jacques Henri Lartigue credit printed on verso.<br /> <br /> Bresson's bloody take on the King Arthur legend was an expansion of the aesthetic he had already developed where the violence that was once implied became a reality-though certainly still quite surreal. <br /> <br /> Shot on location in Noirmoutier-en-L'Ile France. <br /> <br /> 11.75 x 8 inches. Very Good plus with some creasing and wear to extremities. <br /> <br /> Rosenbaum 1000. N.p. unknown
1974150864N.p.: N.p. 1974. Vintage borderless reference photograph of Robert Bresson and crew on the set of the 1974 film with two provenance stamps of film scholar and author "J. P. Berthome" on verso.<br /> <br /> Bresson's bloody take on the King Arthur legend was an expansion of the aesthetic he had already developed where the violence that was once implied became a reality-though certainly still quite surreal. <br /> <br /> Shot on location in Noirmoutier-en-L'Ile France. <br /> <br /> 9.5 x 7 inches. Near Fine. <br /> <br /> Rosenbaum 1000. N.p. unknown
1974150503N.p.: N.p. 1974. Vintage borderless reference photograph of director Robert Bresson and still photographer Jacques Henri Lartigue on the set of the 1974 film with cinematographer Pasqualino de Santis just visible at the top left corner. With a provenance stamp on the verso along with manuscript ink annotations. <br /> <br /> Bresson's bloody take on the King Arthur legend was an expansion of the aesthetic he had already developed where the violence that was once implied became a reality-though certainly still quite surreal. <br /> <br /> Shot on location in Noirmoutier-en-L'Ile France. <br /> <br /> 9.25 x 7 inches. Near Fine.<br /> <br /> Rosenbaum 1000. N.p. unknown
1959160494Paris: Agence D E B. 1959. Vintage borderless reference photograph from the 1959 film showing actors Henri Kassagi and Pierre Etaix. Printed mimeo snipe affixed to the verso along with a provenance stamp and label. <br /> <br /> Director Robert Bresson's first wholly original screenplay perhaps the finest of his many films and according to one of its greatest champions Paul Schrader "as close to perfect as a film can be."<br /> <br /> Set and shot on location in Paris. <br /> <br /> 7 x 5 inches. Near Fine. <br /> <br /> Criterion Collection 314. Ebert I. Godard Histoires du cinema. Grant France. Rosenbaum 1000. Schrader Canon Fodder 4. Selby Classic Noir. Agence D E B. unknown
1959148847N.p.: Agence D E B. 1959. Two vintage French borderless studio still photographs from the 1959 film one of Martin LaSalle and one of Jean Pelegri. Mimeo snipe on verso one with annotations on verso. <br /> <br /> Bresson's first wholly original screenplay as opposed to one adapted from existing material perhaps the finest of his many films and according to one of its greatest champions Paul Schrader "as close to perfect as a film can be."<br /> <br /> 7.25 x 5.25 inches. Near Fine. <br /> <br /> Criterion Collection 314. Ebert I. Godard Histoires du cinema. Rosebaum 1000. Paul Schrader's Canon Fodder 4. Grant France Classic Noir. Selby France Classic Noir. Agence D E B. unknown
1959140945France: Compagnie Cinematographie de France 1959. Vintage borderless press photograph from the 1959 film showing director Robert Bresson on a Paris metro set going over a script while actor Martin LaSalle and crew look on. With the stamp of French photo agency Dalmas and manuscript pencil annotations regarding layout and identifying the image on the verso. <br /> <br /> Bresson's first wholly original screenplay as opposed to one adapted from existing material perhaps the finest of his many fine films and according to one of its greatest champions Paul Schrader "as close to perfect as a film can be."<br /> <br /> 5 x 7.25 inches. Near Fine. <br /> <br /> Criterion Collection 314. Ebert I. Godard Histoires du cinema. Rosebaum 1000. Schrader 4. Compagnie Cinematographie de France unknown
1977167751N.p.: N.p. 1977. Three vintage reference photographs from the 1977 French film. Provenance labels and layout annotations in manuscript ink and pencil on the versos. <br /> <br /> A young alienated student grapples with his diminished faith in relationships religion and politics ultimately deciding that ending his life is the only option. Restricted to ages 18 and older in France as a result of its suicidal themes and described by Richard Hell as "by far the most punk movie ever." <br /> <br /> 9.5 x 7 inches. Two Near Fine one Very Good plus with ink residue on the recto. <br /> <br /> Godard Histoires du cinema. Olive Films 322. Rosenbaum 1000. N.p. unknown
1962151672N.p.: Agnes Delahaie Productions 1962. Three vintage photographs from the 1962 French film including two studio still photographs from the US release of the film and one borderless reference photograph.<br /> <br /> A dramatization of the imprisonment and killing of Jeanne a French peasant girl claiming to receive visions from God. Bresson's sixth release filmed in his typically spare style using non-professional performers and a screenplay drawn from transcriptions of Jeanne's trial at Rouen.<br /> <br /> Two photographs 10 x 8 inches one photograph 9.25 x 7 inches. Near Fine. Agnes Delahaie Productions unknown
1990162072N.p.: Images et Loisirs 1990. Vintage flyer for a re-release of the 1969 French film. Text and titles in French.<br /> <br /> From the collection of artist and author Duncan Hannah.<br /> <br /> Duncan Hannah was a key figure in the burgeoning New York underground arts scene befriending Andy Warhol and his superstars Lou Reed Allen Ginsberg Patti Smith Salvador Dali and many others. A graduate of the Parsons School of Design his paintings were exhibited in the influential 1980 Times Square Show alongside work by Keith Haring and Jean-Michel Basquiat and several of his paintings are held in the permanent collection of the Metropolitan Museum of Art.<br /> <br /> Based on the 1876 short story by Fyodor Dostoevsky about a man reflecting on his wife's recent unexplained suicide. <br /> <br /> 5 x 8 inches. Single leaf recto and verso. Fine. <br /> <br /> Radiance Films 151. Images et Loisirs unknown
