8 853 résultats
1977149823Burbank CA: Warner Brothers 1977. Final Draft script for the 1978 film. <br /> <br /> Based on the 1976 coming-of-age novel. A young man from a working class Italian background struggles to balance the blue collar desires of his volatile family with his own dream of becoming a teacher. Nominated for an Academy Award for Best Screenplay.<br /> <br /> Set in the Bronx New York.<br /> <br /> Goldenrod titled Warner Brothers wrappers noted as FINAL on the front wrapper dated March 14 1977. Title page present dated March 14 1977 noted as FINAL DRAFT with credits for screenwriter Walter Newman and novelist Richard Price. 129 leaves with last page of text numbered 132. Mimeograph duplication rectos only with blue revision pages throughout dated 3/28/77. Pages Near Fine wrapper Very Good plus bound internally with three gold brads. Warner Brothers unknown
1977WRCLIT69501Los Angeles: Warner Brothers 1977. 11321 leaves plus lettered inserts. Quarto. Mechanically reproduced typescript printed on rectos only of white blue and salmon stock. Bradbound in studio wrappers. Inner top corner of lower wrapper and terminal leaf a bit dust-tanned small spot on lower wrapper typical modest use at overlap wrapper edges but very good or better. Copy #3 of this "Final Draft" of Newman's adaptation to film of Price's 1976 novel but evidencing further revisions over the 8 week stretch noted above. Robert Mulligan directed the Fall 1978 release starring Paul Sorvino Richard Gere Tony Lo Bianco et al. Marcus's screenplay was nominated for both Academy and WGA awards. Newman had a distinguished career as screen and television writer going back to the 1950s with credits on THE MAN WITH THE GOLDEN ARM CAT BALLOU and uncredited work on THE MAGNIFICENT SEVEN. In 1986 with THE COLOR OF MONEY for which he received an Oscar nomination Price emerged in his own right as a significant screen and television writer. Warner Brothers unknown books
1953132550London: Twentieth Century-Fox 1953. Collection of 4 vintage full-color British front-of-house cards from the UK release of the 1952 US film. <br/><br/>A well received and a still appreciated film based on a story of the same title in Damon Runyon's 1931 collection "Guys and Dolls" a Haycraft-Queen Cornerstone. Mitzi Gaynor stars as a backwoods babe with a knack for song-and-dance that she uses to impress a few bigwigs in New York she then becomes a belle of Broadway. They also take a liking to her bloodhounds. <br/><br/>8 x 10 inches. Light toning and a few faint creases overall else Near Fine. <br/><br/>Hirschhorn p. 330. Twentieth Century-Fox unknown books
1969150696N.p.: Constitution Films 1969. Collection of eight vintage studio still photographs from the 1970 film.<br/><br/>Andy Milligan was a notorious off-off-Broadway theatre figure and inadvertently got into filmmaking as a means of making money for projects relating to the stage. His surreal films several now lost were a staple of the 1970s grindhouse circuit in New York and elsewhere. Milligan is the subject of a recent long overdue and massive career retrospective called THE GHASTLY ONE published by FAB Press.<br/><br/>Based on the legend of Sweeney Todd. A barber murders people for their meat which he sends to his neighbor and romantic interest the owner of a pie shop. <br/><br/>Set and shot on location in London.<br/><br/>10 x 8 inches. Most Near Fine two Very Good plus with moderate edgewear.<br/><br/>Complete collation details available on request.<br/><br/>Thrower Nightmare USA. Constitution Films unknown books
1970150698Los Angeles: American International Pictures AIP 1970. Collection of nine vintage studio still photographs from the 1970 film. One photograph shows director Roger Corman cinematographer John Alonzo and actors Robert De Niro and Shelley Winters on the set.<br /> <br /> Loosely based on the life of Kate "Ma" Barker the head of the Barker-Karpis gang during the Great Depression. An early appearance by actor Robert De Niro who appears as Lloyd the drug-addled youngest brother. <br /> <br /> Shot on location in Arkansas in Little Rock Mountain Home and Yellville. <br /> <br /> 10 x 8 inches. Near Fine. American International Pictures [AIP] unknown
1981142167US: Cinema 77 / Geria Productions / Filmways 1981. Collection of eight vintage borderless color photographs from the 1981 film. <br/><br/>Based on Michelangelo Antonioni's 1966 film "Blow Up" with an audio recording replacing a photograph early 80s Philadelphia replacing Swinging London and a tight political thriller plot replacing the looser and less immediate one in the original. <br/><br/>Shot on location in Philadelphia. <br/><br/>7 x 9.5 inches. Fine. <br/><br/>Criterion Collection 562. Grant US. Spicer US Neo-Noir. Cinema 77 / Geria Productions / Filmways unknown books
1981142167US: Cinema 77 / Geria Productions / Filmways 1981. Eight vintage borderless color photographs from the 1981 film. <br /> <br /> Based on Michelangelo Antonioni's 1966 film "Blow Up" with an audio recording replacing a photograph early 80s Philadelphia replacing Swinging London and a tight political thriller plot replacing the looser and less immediate one in the original. <br /> <br /> Shot on location in Philadelphia. <br /> <br /> 7 x 9.5 inches. Fine. <br /> <br /> Criterion Collection 562. Grant US. Spicer US Neo-Noir. Cinema 77 / Geria Productions / Filmways unknown
1981127394N.p.: Filmways 1981. Vintage one sheet poster for the 1981 film.<br /> <br /> Based on Michelangelo Antonioni's 1966 film "Blow Up" with an audio recording replacing a photograph early 1980s Philadelphia replacing Swinging London and a tight political thriller plot replacing the looser and less immediate one in the original. <br /> <br /> Shot on location in Philadelphia. <br /> <br /> 27 x 41 inches. Very Good plus with light splashing to the top third.<br /> <br /> Clover Men Women and Chainsaws. Criterion Collection 562. Grant US. Spicer Neo-Noir. Filmways unknown
1981151952N.p.: Filmways 1981. Vintage reference photograph of Brian De Palma on the set of the 1981 film. <br /> <br /> Based on Michelangelo Antonioni's 1966 film "Blow Up" with an audio recording replacing a photograph early 1980s Philadelphia replacing Swinging London and a tight political thriller plot replacing the looser and less immediate one in the original. <br /> <br /> Shot on location in Philadelphia. <br /> <br /> 8 x 10 inches. Near Fine. <br /> <br /> Clover Men Women and Chainsaws. Criterion Collection 562. Grant US. Spicer Neo-Noir. Filmways unknown
1981142109US: Filmways 1981. Vintage borderless color photograph from the 1981 film. Director Brian De Palma and Nancy Allen confer on the set with the stage setup for the film's wild parade sequence ending clearly in the background. <br /> <br /> Conceptual remake of Michelangelo Antonioni's 1966 film "Blow Up" with an audio recording replacing a photograph early 80s Philadelphia replacing Swinging London and a tight political thriller plot replacing the looser and less immediate one in the original. <br /> <br /> Shot on location in Philadelphia. <br /> <br /> 7 x 9.5 inches. Fine. <br /> <br /> Criterion Collection 562. Grant US. Spicer US Neo-Noir. Filmways unknown
1981132103N.p.: Filmways Pictures 1981. Vintage black-and-white still photograph from the 1981 film. <br/><br/>A De Palma highspot with influences from Antonioni's "Blow-Up" and Francis Ford Coppola's "The Conversation." A fine role for John Travolta who would experience a slight career dip and bounce back hard with Quentin Tarantino's "Pulp Fiction."<br/><br/>8 x 10 inches. About Near Fine. Filmways Pictures unknown books
1981142109US: Filmways 1981. Vintage borderless color photograph from the 1981 film. Director Brian De Palma and Nancy Allen confer on the set with the stage setup for the film's wild parade sequence ending clearly in the background. <br/><br/>Conceptual remake of Michelangelo Antonioni's 1966 film "Blow Up" with an audio recording replacing a photograph early 80s Philadelphia replacing Swinging London and a tight political thriller plot replacing the looser and less immediate one in the original. <br/><br/>Shot on location in Philadelphia. <br/><br/>7 x 9.5 inches. Fine. <br/><br/>Criterion Collection 562. Grant US. Spicer US Neo-Noir. Filmways unknown books
1980138685N.p.: Self published 1980. Early Draft script agency copy for the 1981 film "Blow Out" here under the working title "Personal Effects." <br/><br/>A noirish De Palma highspot with influences from Antonioni's "Blow-Up" and Francis Ford Coppola's "The Conversation." A fine role for John Travolta who would experience a slight career dip and bounce back hard with Quentin Tarantino's "Pulp Fiction." Considered by many to be the finest of the director's films of the 1980s a paranoid thriller that is visually arresting from start to finish as well as what Criterion calls .".a devilish reflection on moviemaking." A favorite of the fickle Pauline Kael and the answer to your child's question "Daddy did John Travolta ever make a good film"<br/><br/>Untitled blue wrappers. Title page present dated 1980 with a credit for De Palma. 107 leaves with last page of text numbered 102. Xerographic duplication with photocopied punch holes. Pages Near Fine wrapper Very Good plus bound with two gold brads. <br/><br/>Criterion Collection 502. Grant p. 80. Spicer p. 425. Self published unknown books
1966148795N.p.: N.p. 1966. Collection of 20 vintage borderless photographs from the 1966 film 18 reference photographs and 2 fashion photographs of Rosaleen Murray and Ann Norman. Mimeo snipes on the verso of three of the photographs. <br/><br/>Inspired by the 1959 short story "Las Babas del Diablo" by Julio Cortazar.<br/><br/>Michelangelo Antonioni's first English-language film marking the beginning of the final phase of his work co-produced by companies in Italy the United States and the United Kingdom and featuring an international cast. The director's brash use of color set design non-standard editing techniques and typical emphasis of atmosphere over plot would carry over into the two major films that followed "Zabriskie Point" 1970 and "The Passenger" 1975. <br/><br/>In his 2009 essay on the film Danny Lyon notes "It is apt that through his established style Antonioni made a movie that is perhaps closest to communicating the myth of the swinging Sixties scene but also the confusion of the time. . Britain's new and very chaotic cultural revolution was perhaps most effectively captured by an Italian."<br/><br/>Winner of the Palme d'Or. Nominated for two Academy Awards for Best Director and Best Screenplay.<br/><br/>8 x 10 inches. Lightest edgewear else Near Fine. <br/><br/>Complete collation details available on request.<br/><br/>Criterion Collection 865. Ebert I. Grant UK/Italy. N.p. unknown books
1966162417N.p.: N.p. 1966. Five vintage borderless reference photographs from the 1966 film showing a scene with David Hemmings staging a photoshoot with a topless Vanessa Redgrave<br /> <br /> Michelangelo Antonioni's first English-language film marking the beginning of the final phase of his work co-produced by companies in Italy the United States and the United Kingdom featuring an international cast. The director's brash use of color set design nonstandard editing techniques and typical emphasis of atmosphere over plot would carry over into the two major films that followed "Zabriskie Point" 1970 and "The Passenger" 1975. <br /> <br /> Winner of the Palme d'Or. Nominated for the Academy Awards for Best Director and Best Screenplay.<br /> <br /> Set and shot on location in London. <br /> <br /> 9.75 x 8 inches. Near Fine.<br /> <br /> Criterion Collection 865. Ebert I. Grant UK. N.p. unknown
1966168483N.p.: N.p. 1966. Vintage borderless reference photograph from the 1966 film showing a sex scene between actors Jane Birkin and Gillian Hills with David Hemmings looking on on the right. Provenance stamps and annotations in manuscript pencil and ink on the verso.<br /> <br /> Michelangelo Antonioni's first English-language film marking the beginning of the final phase of his work co-produced by companies in Italy the United States and the United Kingdom featuring an international cast. The director's brash use of color set design nonstandard editing techniques and typical emphasis of atmosphere over plot would carry over into the two major films that followed "Zabriskie Point" 1970 and "The Passenger" 1975. <br /> <br /> Winner of the Palme d'Or. Nominated for the Academy Awards for Best Director and Best Screenplay.<br /> <br /> Set and shot on location in London. <br /> <br /> 10 x 8 inches. Near Fine. <br /> <br /> Criterion Collection 865. Ebert I. Grant UK. N.p. unknown
1966150834N.p.: N.p. 1966. Vintage borderless double weight photograph of Michelangelo Antonioni on the set of the 1966 film with provenance stamp of film scholar and author "J. P. Berthome" on verso.<br /> <br /> Inspired by the 1959 short story "Las Babas del Diablo" by Julio Cortazar.<br /> <br /> Michelangelo Antonioni's first English-language film marking the beginning of the final phase of his work co-produced by companies in Italy the United States and the United Kingdom and featuring an international cast. The director's brash use of color set design non-standard editing techniques and typical emphasis of atmosphere over plot would carry over into the two major films that followed "Zabriskie Point" 1970 and "The Passenger" 1975. <br /> <br /> In his 2009 essay on the film Danny Lyon notes "It is apt that through his established style Antonioni made a movie that is perhaps closest to communicating the myth of the swinging Sixties scene but also the confusion of the time. . Britain's new and very chaotic cultural revolution was perhaps most effectively captured by an Italian."<br /> <br /> Winner of the Palme d'Or. Nominated for two Academy Awards for Best Director and Best Screenplay.<br /> <br /> 10 x 8 inches. Light edgewear and creasing in far corners else Near Fine. <br /> <br /> Criterion Collection 865. Ebert I. Grant UK/Italy. N.p. unknown
1982150549N.p.: N.p. 1982. Second Draft script for an unproduced film. <br /> <br /> From the collection of novelist William Hjortsberg who worked as a screenwriter in Hollywood between 1977-1985. Hjortsberg is best known for the film adaptation of "Angel Heart" 1987 based on his 1978 novel.<br /> <br /> An advertising executive is thrown into grief when his fiancée is accidentally murdered in a mugging but soon finds himself receiving messages from her spirit pressing him to take revenge against her killer.<br /> <br /> Blue untitled wrappers. Title page present dated 28 June 82 noted as SECOND DRAFT with credit for screenwriter DeWitt Beall. 108 leaves with last page of text numbered 107. Xerographic duplication rectos only. Pages Fine wrapper Near Fine bound with three gold brads. N.p. unknown
1973132849London: Mallard Productions 1973. Vintage black-and-white still photograph from the 1973 UK release of the 1973 English-Canadian film. Mimeograph snipe and cropping annotations on the verso. <br/><br/>Oliver Reed stars as a satanic butler who kills his lord's son during his acid trip. <br/><br/>8 x 10 inches. Some toning and tiny corner creases else Near Fine. Mallard Productions unknown books
1988144294Los Angeles: Paramount Pictures 1988. Third Draft for an unproduced film. <br/><br/>Mike is an unruly teenage boy who gets sent to a psychiatric hospital after being charged with stealing a car. <br/> <br/>Gray untitled wrappers. Title page present dated November 4 1988 noted as Third Draft with credits for screenwriter Maxine Herman.125 leaves with last page of text numbered 124. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with three gold brads. Paramount Pictures unknown books
1965147218Los Angeles: Twentieth Century-Fox Television 1965. First Draft script for the 14th and final episode of the first and only season of "Blue Light" originally aired on ABC on May 18 1966. With manuscript ink annotations to the cast list noting the names of prospective actors for each role.<br /> <br /> An American spy living in Germany during World War II receives orders to kill a scientist who appears to be completing an atomic bomb for the SS but soon realizes the man may be working against the Nazis after all.<br /> <br /> Set in Germany. <br /> <br /> Red titled wrappers noted as FIRST DRAFT on the front wrapper dated DECEMBER 22 1965. Title page present dated December 22 1965 noted as FIRST DRAFT with credits for screenwriter Harold Livingstone. 36 leaves with last page of text numbered 33. Mimeograph duplication on eye-rest green stock rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. Twentieth Century-Fox Television unknown
1965147218Los Angeles: Twentieth Century-Fox Television 1965. First Draft script for the 14th and final episode of the first and only season of "Blue Light" originally aired on ABC on May 18 1966. With holograph ink annotations to the cast list noting the names of prospective actors for each role.<br/><br/>An American spy living in Germany during World War II receives orders to kill a scientist who appears to be completing an atomic bomb for the SS but soon realizes the man may be working against the Nazis after all.<br/> <br/>Set in Germany. <br/><br/>Red titled wrappers noted as FIRST DRAFT on the front wrapper dated DECEMBER 22 1965. Title page present dated December 22 1965 noted as FIRST DRAFT with credits for screenwriter Harold Livingstone. 36 leaves with last page of text numbered 33. Mimeographed on eye-rest green stock rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. Twentieth Century-Fox Television unknown books
1969149414Munich: Constantin-Film 1969. Four vintage borderless reference photographs from the 1969 German release of the US film. With printed mimeo snipes on the verso. <br /> <br /> Andy Warhol's final film an attempt to represent sex between a man and a woman Warhol superstars Louis Waldon and Viva respectively as naturalistically as possible. A groundbreaking influential production insofar as it was the first adult film to receive wide theatrical release in the US.<br /> <br /> Set and shot on location in New York.<br /> <br /> 7 x 5 inches. Near Fine. Constantin-Film unknown
1969149414Munich: Constantin-Film 1969. Collection of four vintage borderless reference photographs from the 1969 German release of the US film. With printed mimeo snipes on the verso. <br/><br/>Andy Warhol's final film an attempt to represent sex between a man and a woman Warhol superstars Louis Waldon and Viva respectively as naturalistically as possible. A groundbreaking influential production insofar as it was the first adult film to receive wide theatrical release in the US.<br/><br/>Set and shot on location in New York.<br/><br/>7 x 5 inches. Near Fine. Constantin-Film unknown books
1971161546N.p.: MDA Film 1971. Six studio still photographs from the 1971 film. Five photographs with provenance stamps on the versos one of which is on a label obscuring an older provenance stamp. <br /> <br /> After an artist's suicide friends and lovers share their memories of him most of whom are convinced he would never have killed himself and that one of them had something to do with his demise. <br /> <br /> Set in and shot on location in New York. <br /> <br /> 8 x 10 inches. Near Fine overall. MDA Film unknown
