8 854 résultats
1997138365N.p.: N.p. 1997. Archive of original and quite substantive correspondence ranging from personal to professional concerns between writer Larry Gelbart and director Robert Parrish all from the archive of Robert Parrish dating between 1979-1997.<br /> <br /> Archive includes: <br /> <br /> - Four Autograph Letters Signed from Gelbart to Parrish on Gelbart's personal debossed stationery.<br /> <br /> - Five Autograph Note Cards Signed from Gelbart to Parrish on Gelbart's personal stationery<br /> <br /> - One Printed Letter Signed from Gelbart to to Parrish on white office stock.<br /> <br /> - Two outgoing carbons and one printed letter from Parrish to Gelbart<br /> <br /> - One seven-page typescript of a humorous essay by Parrish essay titled "Beverly Hills Breakfast Briefing" featuring Gelbart and Parrish as the subjects.<br /> <br /> Also included are four pieces of vintage ephemera including:<br /> <br /> - Typescript of an address by Gelbart for the "New York Friars Club Tribute to Neil Simon" at the Waldorf Astoria Hotel's Grand Ballroom on April 25 1993.<br /> <br /> - Typescript of an address for "The Museum of Television and Radio Gala" at the Waldorf Astoria Hotel's Grand Ballroom on April 27 1993. <br /> <br /> - Typescript of an address for Joseph S. Kantor's Memorial Service on April 26 1993. <br /> <br /> - Typescript of an address for Jay Burton's Memorial Service on April 28 1993. <br /> <br /> - Photocopied excerpt from the Dramatists Guild Quarterly Spring 1992 issue an article regarding Gelbart<br /> <br /> Gelbart best known for having written "Tootsie" 1982 and for creating the television show "MASH" maintained a close friendship with director Robert Parrish "Body and Soul" "A Double Life" "All the King's Men" and his wife Kathleen as seen here via nearly twenty years of kind correspondence that touches upon the two men's writings careers and family lives. An uncommonly charming and frequently hilarious documentation of a close relationship both within and outside of the film industry.<br /> <br /> All material Very Good plus to Near Fine. N.p. unknown
1968137925Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1968. Archive including 20 vintage linen-backed production photographs a trade advertisement a film program and a souvenir booklet from the 1968 film "2001: A Space Odyssey." From the collection of NASA scientific consultant Frederick I. Ordway III with images prominently featuring Ordway production designer Harry Lange Arthur C. Clarke Stanley Kubrick and others. One photograph has Ordway's name written on the recto in silver marker. All photographs mounted on matte board as issued. <br /> <br /> Ordway and Clarke began working together on matters of science fact in 1951 and Clarke personally invited him to be the factual advisor on the film. <br /> <br /> Kubrick's sprawling science fiction epic traces the evolution of human intelligence under the influence of an unspecified alien force. Along with "Blade Runner" Kubrick's masterpiece forever altered the standard for visual and conceptual sophistication in science fiction and genre films. The pre-production for the film set standards as well as Kubrick hired one of the greatest science fiction authors of the 1960s Arthur C. Clarke to be his screenwriter and hired over 20 scientists like Ordway to consult on every detail of the film. The film's high degree of scientific accuracy coupled with bleeding-edge special effects and minimal use of dialogue make "2001" universally recognized as one of the most influential films ever made. The development of the film was kept strictly under wraps and behind-the-scenes material of any kind is rare. <br /> <br /> Winner of an Academy Award for Best Special Effects and nominated for three others including Best Director. Set in space shot on location in Scotland England Arizona and Utah. <br /> <br /> Photographs 8 x 10 inches mounted on 11 x 14 inch matte board. Trade advertisement 9 x 12 inches full-color creased. Souvenir booklet 7.25 x 16 inches full-color 12 leaves saddle stapled folded. Program 5.5 x 8.5 inches black and white saddle stapled single leaf. Very Good to Near Fine. Metro-Goldwyn-Mayer [MGM] unknown
1995162669N.p.: N.p. 1995. Archive of vintage treatments and proposals for 16 unproduced sitcom television series. All material housed together in a generic three-ring binder with a manuscript label on the binder spine noting "1995 Pilot Pitches" in the hand of screenwriter Stephen Sustarsic. <br /> <br /> Stephen Sustarsic wrote frequently for sitcom television throughout the 1980s and 1990s most memorably for the television series "Alice" 1976-1985 and "The Jeffersons" 1975-1985. Sustarsic was also one of the creators of the children's animated series "The Wild Thornberrys" 1998-2004. <br /> <br /> Lacking title page presumably as issued. Approximately 150 leaves. Pages Very Good plus with light discoloration on the bottom edge of the first leaf and faint foxing on the page edges. Binder Very Good plus. N.p. unknown
1928140906Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1928. Archive of material from the 1928 film. From the estate of actor Monte Blue who starred in the film. <br /> <br /> Included in the archive are a carbon typescript draft script here under the working title "Southern Skies" four vintage photographs each with a mimeo snipe on the verso one with a press stamp as well and a later 1921 edition of the 1919 travel book by Frederick O'Brien which served as the source material for the film signed and dated by Blue with his bookplate on the front pastedown. <br /> <br /> MGM's first film with a fully prerecorded soundtrack comprised of music and sound effects including most notably the first time the company's mascot Leo the Lion roared at the film's start White Shadows in the South Seas doesn't quite classify as a "talkie" as only the single whispered word "hello" appears in the soundtrack. Winner of an Academy Award for Best Cinematography. <br /> <br /> Set on a Polynesian Island shot on location in Tahiti at the time an ambitious endeavor to shoot a Hollywood film on location among native islanders using many of them as extras in the film. <br /> <br /> Carbon typescript draft:<br /> <br /> Cream colored titled wrappers rubber-stamped copy No. 5046 and production No. 338 dated November 29 1927 with credits for screenwriter Jack Cunningham and adaptation writer Ray Doyle. Title page integral with the first page of the text dated November 161927 with credits for Cunningham and Doyle. 146 leaves with last leaf of text numbered 146. Carbon typescript on onionskin stock. Pages Near Fine wrapper Poor bound with two gold brads. <br /> <br /> 1921 copy of "White Shadows in the South Seas:"<br /> <br /> Early The Century edition from 1921 first edition was originally published by The Century in 1919. Very Good lacking jacket. Front hinge split with light rubbing to the cloth at the extremities. Metro-Goldwyn-Mayer [MGM] unknown
1928140906Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1928. Archive of material from the 1928 film. From the estate of actor Monte Blue who starred in the film. <br/><br/>Included in the archive are a carbon typescript draft script here under the working title "Southern Skies" four vintage photographs each with a mimeo snipe on the verso one with a press stamp as well and a later 1921 edition of the 1919 travel book by Frederick O'Brien which served as the source material for the film signed and dated by Blue with his bookplate on the front pastedown. <br/><br/>MGM's first film with a fully prerecorded soundtrack comprised of music and sound effects including most notably the first time the company's mascot Leo the Lion roared at the film's start White Shadows in the South Seas doesn't quite classify as a "talkie" as only the single whispered word "hello" appears in the soundtrack. Winner of an Academy Award for Best Cinematography. <br/><br/>Set on a Polynesian Island shot on location in Tahiti at the time an ambitious endeavor to shoot a Hollywood film on location among native islanders using many of them as extras in the film. <br/><br/>Carbon typescript draft:<br/><br/>Cream colored titled wrappers rubber-stamped copy No. 5046 and production No. 338 dated November 29 1927 with credits for screenwriter Jack Cunningham and adaptation writer Ray Doyle. Title page integral with the first page of the text dated November 161927 with credits for Cunningham and Doyle. 146 leaves with last leaf of text numbered 146. Carbon typescript on onionskin stock. Pages Near Fine wrapper Poor bound with two gold brads. <br/><br/>1921 copy of "White Shadows in the South Seas:"<br/><br/>Early The Century edition from 1921 first edition was originally published by The Century in 1919. Very Good lacking jacket. Front hinge split with light rubbing to the cloth at the extremities. Metro-Goldwyn-Mayer [MGM] unknown books
1968137925Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1968. Archive including 20 vintage linen-backed production photographs a trade advertisement a film program and a souvenir booklet from the 1968 film "2001: A Space Odyssey." From the collection of NASA scientific consultant Frederick I. Ordway III with images prominently featuring Ordway production designer Harry Lange Arthur C. Clarke Stanley Kubrick and others. One photograph has Ordway's name written on the recto in silver marker. All photographs mounted on matte board as issued. <br/><br/>Ordway and Clarke began working together on matters of science fact in 1951 and Clarke personally invited him to be the factual advisor on the film. <br/><br/>Kubrick's sprawling science fiction epic traces the evolution of human intelligence under the influence of an unspecified alien force. Along with "Blade Runner" Kubrick's masterpiece forever altered the standard for visual and conceptual sophistication in science fiction and genre films. The pre-production for the film set standards as well as Kubrick hired one of the greatest science fiction authors of the 1960s Arthur C. Clarke to be his screenwriter and hired over 20 scientists like Ordway to consult on every detail of the film. The film's high degree of scientific accuracy coupled with bleeding-edge special effects and minimal use of dialogue make "2001" universally recognized as one of the most influential films ever made. The development of the film was kept strictly under wraps and behind-the-scenes material of any kind is rare. <br/><br/>Winner of an Academy Award for Best Special Effects and nominated for three others including Best Director. Set in space shot on location in Scotland England Arizona and Utah. <br/><br/>Photographs 8 x 10 inches mounted on 11 x 14 inch matte board. Trade advertisement 9 x 12 inches full color creased. Souvenir booklet 7.25 x 16 inches full color 12 leaves saddle stapled folded. Program 5.5 x 8.5 inches black and white saddle stapled single leaf. Very Good to Near Fine. <br/><br/>Complete collation details available on request. Metro-Goldwyn-Mayer [MGM] unknown books
1952140247Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1952. Four Draft scripts for three Pete Smith production shorts "The Camera Caught It" 1954 "Bandage Bait" 1951 and "Bargain Madness" 1951 seen here under the title "Dollar Day." <br/><br/>Collection of scripts for three of Pete Smith's later short productions: "The Camera Caught It" "Bandage Bait" and "Bargain Madness." "Bargain Madness" features a passive aggressive fight between two neighboring housewives who attempt to shop at the same department store sale "Bandage Bait" a barrage of idiotic ways to injure oneself in various places and "The Camera Caught It" a humorously-narrated series of unusual acts caught on camera. <br/><br/>Smith produced and narrated over 150 shorts between the 1930s and 1955 beginning his career at MGM as a publicist and moving on to narration when others noticed his knack for comedy. His unmistakable sharp tenor and nasal tone unwittingly became the analog the voice we expect to hear in all shorts and news reels of the era and he was awarded an Honorary Academy Award in 1953 for his work. <br/><br/>The Camera Caught It copy No. 38:<br/><br/>Goldenrod titled wrappers rubber-stamped copy No. 38 dated 7-9-52 with credits for producer Pete Smith and screenwriter Joe Ansen. Title page integral with the first page of the text as issued dated 7-9-50. 22 leaves with last page of text numbered 21. Mimeograh. Pages Fine wrapper Near Fine bound with two gold brads. <br/><br/>The Camera Caught It copy No. 6:<br/><br/>Goldenrod titled wrappers rubber-stamped copy No. 6 dated 7-9-52 with credits for producer Pete Smith and screenwriter Joe Ansen. Title page integral with the first page of the text as issued present dated 7-9-50. 23 leaves with last page of text numbered 22. Mimeograph duplication with white revision pages dated 7-18-52. Pages Fine wrapper Near Fine bound with two gold brads. <br/><br/>Bandage Bait:<br/><br/>Blue titled wrappers rubber-stamped copy No. 27 dated 6-6-50 with credits for screenwriters David Barclay and Julian Harmon. Title page integral with the first page of the text as issued dated 4-18-50. 37 leaves with last page of text numbered 35. Mimeograph duplication with white revision pages throughout dated 4-18-50. Pages Fine wrapper Near Fine bound with two gold brads. <br/><br/>Dollar Day:<br/><br/>Goldenrod titled wrappers rubber-stamped copy No. 53 dated 4-27-50 with credits for producer Pete Smith and screenwriters Julian Harmon and David Barclay. Title page integral with the first page of the text as issued dated 5-18-50. 20 leaves with last page of text numbered "26-27." Mimeograph duplication with white revision pages throughout dated variously between 5-18-50 and 6-19-50. Pages Fine wrapper Near Fine bound with two gold brads. Metro-Goldwyn-Mayer [MGM] unknown books
1935WRCLIT62273Los Angeles: The Author 1935. Six volumes. Quarto. Chiefly carbon typescript but also original typescript the latter with extensive manuscript revisions and notations. Each unit bradbound or stapled into typescript wrappers. Some use wrappers a bit frayed at edges and chipped at spines last wrapper separated at spine but typescripts in generally very good order consistent with use. A fine contiguous sequence of scripts tracing the development of this film from its earliest stages through the final working draft of Cole's screenplay and the intercession of another writer. The 1935 film directed by D. Ross Lederman was released under the title TOO TOUGH TO KILL and starred Victor Jory Sally O'Neill Ward Bond et al. The film as conceived by Cole is a depiction of an investigation into labor strife at a tunnel and aqueduct construction site near Morongo California. The film as finally released was co-credited to Cole and Jay Griffin based on a story by Robert Speers. However with the exception of the last item the material in this archive is credited throughout solely to Lester Cole and includes the following: a Treatment 122 leaves carbon typescript; b First Draft Screenplay 22 July 191 leaves carbon typescript with scattered revisions and annotations in pencil; c Second Draft Screenplay 30 July 110 leaves carbon typescript with scattered pencil queries comments and alterations; d Third Draft Screenplay 2 August 1104 leaves carbon typescript; e Fourth Draft Screenplay 5 August 1104 leaves carbon typescript; and f Fourth Draft Screenplay altered in manuscript to read "Final Working Copy" 5 August ca. 104 leaves plus lettered inserts and other variations largely original typescript but some carbon very heavily revised throughout in pencil in at least two hands. The first four items are designated in manuscript with the name of Ben Pivar the production supervisor of record for the film. The last bears the ownership signature of J. Griffin Jay and would obviously appear to be the copy of Cole's draft Jay utilized for the start if not the bulk of the revisions and rewrites that earned him co-credit. Cole was one of the cofounders of the Screen Writers Guild and in 1934 joined the CPA. Like his other colleagues known as the "Hollywood Ten" Cole refused to cooperate with the HUAC in 1947 was sentenced to a year in prison and a fine and was placed on the Blacklist. He continued to work sporadically under pennames and his last major film BORN FREE was so credited. Jay had his own substantial list of screenwriting credits chiefly in the genres of adventure science fiction and horror films. A fine coherent and contiguous archive the sort seldom preserved intact over the passage of more than 75 years. The Author] unknown books
1932137089Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1932. Vintage reference photograph with snipe printed on the verso identifying director Harry Beaumont on the set with actresses Anita Page and Joan Marsh in the 1932 film based on the 1932 J.P. McEvoy novel of the same name. With an additional stamp on the verso reading "Country of origin USA." <br /> <br /> Left jobless and about to be kicked out of his apartment by the Great Depression a former radio writer accidentally kills his wife. Going on the run with his mistress he comes on a radio show hosted by his former boss to protest his innocence and lead a manhunt for the "killer."<br /> <br /> 10 x 8 inches. About Near Fine with some light creasing to the corners and light soil. Metro-Goldwyn-Mayer [MGM] unknown
1932137089Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1932. Vintage reference photograph with snipe printed on the verso identifying director Harry Beaumont on the set with actresses Anita Page and Joan Marsh in the 1932 film based on the 1932 J.P. McEvoy novel of the same name. With an additional stamp on the verso reading "Country of origin USA." <br/><br/>Left jobless and about to be kicked out of his apartment by the Great Depression a former radio writer accidentally kills his wife. Going on the run with his mistress he comes on a radio show hosted by his former boss to protest his innocence and lead a manhunt for the "killer."<br/><br/>10 x 8 inches. About Near Fine with some light creasing to the corners and light soil. Metro-Goldwyn-Mayer [MGM] unknown books
1948164601Universal City: Universal-International 1948. Two vintage publicity photographs from the 1948 film musical one showing actor Lew Parker pointing at actress Pat Dane the other showing actress Olga San Juan in Chinese-inspired garb. Printed mimeo snipe and provenance stamps on the versos.<br /> <br /> Based on the 1945 Broadway musical in turn based on George Malcolm-Smith's 1941 novel "Slightly Perfect." A young insurance salesman quits his job and joins a traveling circus thereby discovering his ability to tap-dance and sing. <br /> <br /> From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1 1901 Jones worked for Paramount Pictures in the early 1930s and went on to be the head of the still photography department at Universal Pictures in 1935 where he worked well into the 1950s.<br /> <br /> 8 x 10 inches. One Very Good plus the other Very Good with pinholes at the corners. Universal-International unknown
147346N.p.: N.p. Unknown. Draft script for an unproduced film. With a few small holograph ink annotations throughout. Text in English. <br/><br/>A peaceful man lives a secret double life as a hired killer for a shadowy organization with murderous international dealings.<br/><br/>Roman-born screenwriter Sergio Corbucci rose to prominence in 1966 with his cult Spaghetti Western film "Django" a release considered to have set a new standard of violence in the genre. Corbucci is remembered one of Italy's most prolific exploitation directors creating stylish hyper-violent films in what is today known as the Euro Western and "poliziotteschi" genres usually following lone antiheroes seeking retribution for past wrongs as in "Navajo Joe" 1966 "Ringo and His Golden Pistol" 1966 and "The Cruel Ones" 1967 or left-leaning proletarian protagonists as in "The Mercenary" 1968 "The Specialists" 1969 and "Companeros" 1970. <br/><br/>Set in Paris and Rome.<br/><br/>Red untitled wrappers. Title page present with credits for screenwriters BRUNO CORBUCCI MARIO AMENDOLA and SERGIO CORBUCCI. 100 leaves with last page of text numbered 101. Xerographic duplication rectos only. Pages Very Good plus wrapper Very Good plus bound internally with two gold brads. N.p. unknown books
1991153730N.p.: N.p. 1991. First Draft script for an unproduced film. Laid in with the script is a xerographically duplicated design for the film title and a typed list of editorial notes on the script dated 7/24/91 with a manuscript ink annotation to the top right corner noting "Viacom's list."<br /> <br /> Loosely based on the nonfiction writings of Tom Clancy about the members of a special deep cover military unit as they attempt to manage a volatile hostage situation.<br /> <br /> Set in Tampa Florida and Washington DC. <br /> <br /> Self wrappers. Title page present dated 7/17/91 noted as First Draft with credits for screenwriter Michael Ahnemann. 116 leaves with last page of text numbered 111. Xerographic duplication rectos only. Pages Near Fine wrappers Near Fine bound with three gold brads. N.p. unknown
1937165066Universal City: Universal Pictures 1937. Vintage double weight reference photograph of Cesar Romero and Irving Pichel from the 1937 film with two stamps and a mimeo snipe on the verso one studio stamp crediting photographer Ray Jones and one dated Advertising Advisory Council stamp. <br /> <br /> From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1 1901 Jones worked for Paramount Pictures in the early 1930s and went on to be the head of the still photography department at Universal Pictures in 1935 where he worked well into the 1950s. <br /> <br /> Robert Wilcox stars as a detective who goes undercover to expose a group of hijackers. <br /> <br /> 10 x 8 inches. A small crease to the bottom right corner else Near Fine. Universal Pictures unknown
1955151295N.p.: N.p. 1955. Vintage borderless black and white photograph of director Orson Welles filming with a small handheld camera on location for the 1955 British miniseries. With a printed mimeo snipe affixed to the verso along with a date stamp reading 12 OCT 1955 and the stamp of TV Times.<br/><br/>The series followed Welles as he toured Europe interviewing famous artists and celebrities throughout Spain England and France. <br/><br/>6.5 x 8.5 inches. Very Good plus lightly edgeworn and wavy. N.p. unknown books
1966161479New York: Cambist Films 1966. Two vintage studio still photographs from the 1966 late noir sexploitation film. One photograph with two provenance stamps on the verso one on a label obscuring a previous provenance stamp. <br /> <br /> A sex maniac is killing prostitutes in Manhattan and it's up to a rogue cop to catch him before he kills again.<br /> <br /> Set in and shot on location in New York City. <br /> <br /> 8 x 10 inches. Very Good plus. <br /> <br /> Grant US. Cambist Films unknown
1953152724N.p.: N.p. 1953. Vintage oversize borderless matte-finish double weight photograph of Charlton Heston receiving a massage on the set of the 1953 film. With the stamp of photographer Bill Avery on the verso. <br /> <br /> A Chief of Scouts mistrusts the Apache tribe after the chief refuses to sign a peace treaty but his concerns are disregarded by the US Army. <br /> <br /> Bill Avery worked as a photographer at Columbia Pictures in the early twentieth century with a brief interlude working as a combat cameraman during World War II. He also worked at MGM under noted photographer C.S. Bill and occasionally worked as a freelance publicity photographer shooting iconic images of Elvis Presley Jack Lemmon Katharine and Audrey Hepburn and Shirley MacLaine among many others.<br /> <br /> Shot on location in Texas.<br /> <br /> 9 x 13.5 inches. Near Fine. <br /> <br /> Pitts 166. N.p. unknown
1953152724N.p.: N.p. 1953. Vintage oversize borderless matte-finish double weight photograph of Charlton Heston receiving a massage on the set of the 1953 film. With the stamp of photographer Bill Avery on the verso. <br/><br/>A Chief of Scouts mistrusts the Apache tribe after the chief refuses to sign a peace treaty but his concerns are disregarded by the US Army. <br/><br/>Bill Avery worked as a photographer at Columbia Pictures in the early twentieth century with a brief interlude working as a combat cameraman during World War II. He also worked at MGM under noted photographer C.S. Bill and occasionally worked as a freelance publicity photographer shooting iconic images of Elvis Presley Jack Lemmon Katharine and Audrey Hepburn and Shirley MacLaine among many others.<br/><br/>Shot on location in Texas.<br/><br/>9 x 13.5 inches. Near Fine. <br/><br/>Pitts 166. N.p. unknown books
1958142712Glendale CA: William F. Broidy Productions / Allied Artists 1958. Draft script for the 1959 film noir. Holograph pencil and ink notation indicating copy belonging to actress Lyn Thomas with substantive notes on dialogue and wardrobe throughout. Shooting schedule leaves bound in and laid in scene break down of costume. <br/><br/>Arson squad investigator Johnny Broderick and his partner Ben Howard investigate a warehouse fire and find evidence of arson. <br/><br/>Set in and shot on location in Los Angeles. <br/><br/>Red titled wrappers rubber-stamped copy No. 31 with "Aug 1958" noted in holograph ink below the title. Title page present with credits for screenwriter Tom Hubbard. 113 leaves with last page of text numbered 88 and 13 shooting schedule leaves. Mimeograph duplication with blue green and pink revision pages throughout. Pages Near Fine wrapper Very Good plus bound with two gold brads. <br/><br/>Selby Us. Spicer US. William F. Broidy Productions / Allied Artists unknown books
1983149305Rome: 2T Produzione Film 1983. Vintage grande French poster for the 1983 erotic film. <br /> <br /> Inspired by Ovid's 2 AD collection of poems "Ars Amatoria" "The Art of Love".<br /> <br /> Set in ancient Rome the poet Ovid teaches courses in the art of love. One of his students sets out to test his newfound skill on a woman whose husband has gone to war. <br /> <br /> 47 x 63 inches. One panel. Folded as issued. Near Fine. <br /> <br /> Bier 96. 2T Produzione Film unknown
1983149305Rome: 2T Produzione Film 1983. Vintage grande French poster from the 1983 erotic film. <br/><br/>Inspired by Ovid's 1 BCE collection of poems "Ars Amatoria" "The Art of Love".<br/><br/>Set in ancient Rome the poet Ovid Massimo Girotti teaches courses in the art of love. Cornelius Philippe Taccini one of Ovid's students sets out to test his skill on Claudia Marina Pierrro whose husband Macarius Michel Placido has gone to war. <br/><br/>47 x 63 inches. One panel. Folded as issued. Near Fine. <br/><br/>Bier p. 58. 2T Produzione Film unknown books
1981132908New York: Orion Pictures 1981. Collection of 3 vintage black-and-white still photographs from the 1981 US film. Cropping annotations on the verso of 1 still. <br/><br/>Dudley Moore stars as Arthur a happy drunk with no ambition and heir to a fortune available to him only if he marries Susan Jill Eikenberry. He instead loves Linda Liza Minnelli but Susan intends to keep Arthur in the family somehow. Winner of 2 Academy Awards Best Actor in a Supporting Role and Best Music. <br/><br/>A story set and shot on location all over New York. <br/><br/>7.5 x 9.75 inches 2 stills slightly smaller. Near Fine. <br/><br/>Complete collation details available on request. Orion Pictures unknown books
1996148583Culver City CA: TriStar 1996. Shooting Script for the 1997 film. SIGNED on the title page by director-screenwriter James L. Brooks.<br/><br/>A misanthropic novelist uses sarcasm and animosity to mask his extreme obsessive-compulsive disorder but finds his highly regimented world begins to unravel when he is forced to dog-sit for his neighbor following a violent robbery. Nominated for seven Academy Awards and winning two for Best Actor and Best Actress for Jack Nicholson and Helen Hunt respectively.<br/><br/>Set in New York City and Baltimore shot on location in New York New Jersey and California.<br/><br/>Navy generic Tri-Star Pictures wrappers. Title page present dated 7/29/96 noted as Shooting Script with credits for screenwriters James L. Brooks and Mark Andrus. 164 leaves with last page of text numbered 136. Xerographic duplication with white revision pages throughout dated variously between 9-24-96 and 6-12-97. Pages Near Fine wrapper Near Fine bound internally with two gold brads. TriStar unknown books
1966135639Paris: C.A.P.A.C. 1966. Collection of 3 vintage borderless black-and-white reference photographs from the French release of the 1966 film. With reference information in manual type on the verso of each photograph. <br /> <br /> <br /> 5 x 7 inches. Near Fine. <br /> <br /> Criterion Collection 655. C.A.P.A.C. unknown
1966142191Paris: C.A.P.A.C. 1966. Vintage borderless photograph from the 1966 film. <br/><br/>A compendium of four short films from the master French comedian a contemporary and collaborator with legends such as Jacques Tati and Jerry Lewis who legacy was threatened with obscurity when ongoing legal disputes kept his work from being available for almost 40 years. <br/><br/>5 x 7 inches. Near Fine. <br/><br/>Criterion Collection 655. C.A.P.A.C. unknown books
