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I am working on a book and need some help. Robert Bolt was originally listed as the sole screenwriter of A Man for All Seasons (1966). But recently, I've seen that some listings credit the screenplay to Bolt and Constance Willis who did continuity in the original credits. It's listed that way on the DVD jacket, in film study guides, and on the online encyclopedia britannica listing for the film. So, something seems to have happened. But I can't find any article or notice documenting it. I even went to the writers guild site but couldn't find anything. I know that Bolt was listed as the sole screenwriter for Lawrence of Arabia but that was later changed--with some fanfare--to co-writer credit with Michael Wilson, who had originally been assigned the screenplay. The determination was that Bolt had taken the structure for the film from Wilson's draft and concentrated on the dialogue. (Something similar happened with the 1968 Charge of the Light Brigade when John Osborne just took a history of the Crimean War and copied the structure, basically dramatizing the historian's work. A UK court refused to dismiss, and the case was settled out of court, leaving unresolved whether taking the structure of a work is copyright violation. ) Willis died in 1992, Bolt in 1995. If anyone has any information on this situation or how I might find some, I would appreciate it.
so, in April of this year, I completed my first screenplay. I had poked around at writing them before and never been able to bring myself to finish it. it was not entirely unlike giving birth to a child, i say this as a childless man, so take that for what it's worth, but i look at this 206 page thing I brought into this world and could not help but feel the same sort of pride that I imagine one has when one looks upon a child. I also enjoyed doing it and it did something I did not think was possible- it made me love the genre of CLASSIC HORROR more than I already did. (It is an homage) And then I went back to 260(?) pages of A mess i had been working on before I was struck with the IDEA for my previous project- a retelling of a classic screwball comedy with a gender switch. I went and whittled it down to 212 pages and- while I did not enjoy writing it hALFSOMUCH as the first one- I still came to love it the way one does the more difficult of the two children. And then when I was done with it, I realized that THE WORLD WAS IN A MESS and that DOING THIS WAS KEEPING ME SANE especially since, now, I can't GO TO THE GYM AND am forced for reasons other than ugliness to be celibate... So i went back to an attempt I had made at adapting an obscure book by one of my favorite authors. it was 40 pages and I didn't hate it. so i dove in. so I 've been working on it and I managed to FINISH IT in about SIX WEEKS. and it's 153 PAGES, WHICH IS QUITE NICE BECAUSE I AM THE GEORGE ELIOT OF AMATEUR SCREENWRITERS. MY **** IS TOO DAMN LONG. anyhow, i need to decide on something to write next so I don't lose my mind entirely. BIG THANKS to the TWO POSTERS who put up with my sharing MARCEL PROUST-LEVELS of what I can imagine was the most unwanted of correspondences (I kid) to vent as I wrote. now I just have to deal with the anxiety of worrying if anything will ever happen with it. third time a charm?
While I was waiting for The Ten Commandments to download last night, I whiled away the time watching Casablanca again. I have seen this movie countless times, and for me, it was the film that motivated me into being the movie lover I am today. There is a magic about this story and its production that always grips me. Last night's viewing reminds me that this story takes me to foreign shores, yet the production never leaves Burbank, CA. Well, maybe there's a scene at the Van Nuys airport, but again, not that far. I still buy it. It is such masterful production design, it hooks me everytime, even when fully aware of the actual shooting locales. Am I the only one who feels like this?