Screenwriter Tony Kushner blows the dust off history by investing it with flesh, blood, and churning purpose. . . . A great American movie.” –Peter Travers, Rolling Stone“Lincoln is a rough and noble democratic masterpiece. And the genius of Lincoln, finally, lies in its vision of politics as a noble, sometimes clumsy dialectic of the exalted and the mundane…And Mr. Kushner, whose love of passionate, exhaustive disputation is unmatched in the modern theater, fills nearly every scene with wonderful, maddening talk. Go see this movie.” –A.O. Scott, New York Times“A lyrical, ingeniously structured screenplay. Lincoln is one of the most authentic biographical dramas I’ve ever seen…grand and immersive. It plugs us into the final months of Lincoln’s presidency with a purity that makes us feel transported as if by time machine.” –Owen Gleiberman, Entertainment WeeklyA decade-long collaboration between three-time Academy Award® winner Steven Spielberg and Pulitzer Prize winner Tony Kushner, Lincoln is a revealing drama that focuses on the 16th President’s tumultuous final months in office. Having just won re-election in a country divided, Lincoln pursues a course of action designed to end the war, unite the country and abolish slavery. With the moral courage and fierce determination to succeed, his choices during this critical moment will change the fate of America, and generations, to come. Containing eight pages of color photos from the film and inspired by Doris Kearns Goodwin’s critically acclaimed Team of Rivals: The Political Genius of Abraham Lincoln, Lincoln is now a major motion picture by DreamWorks starring two-time Academy Award® winner Daniel Day-Lewis.Tony Kushner's plays include Angels in America, Parts One and Two; A Bright Room Called Day; Slavs!; Homebody/Kabul; Caroline, or Change, a musical with composer Jeanine Tesori; and The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures. He wrote the screenplays for Mike Nichols's film of Angels in America and for Steven Spielberg's Munich. Kushner is the recipient of a Pultizer Prize, two Tony Awards, three Obie Awards, two Evening Standard Awards, an Olivier Award, an Emmy Award, and two Oscar nominations, among other honors. In 2008 he was the first recipient of the Steinberg Distinguished Playwright Award.

    The story was collected in his anthology Welcome To The Monkey House. The story centers on a character named Harry Nash, who is an extremely shy & characterless small-town man. However, whenever he takes a part in the local, amateur theater production he becomes the character to an overwhelming extent. Soon Helene Shaw, a recent addition to the town, falls in love with Nash--or with his character in the play.

    An invaluable reference for film students and fans, this book details the evolution of the epic romance from script to screen, including scenes and dialogue cut from the final film, as well as annotations explaining footage seen in the final cut, yet not contained in the screenplay. Never-before-seen photographs of the stars, storyboards for sequences never filmed, and an in-depth interview with Cameron make Titanic: James Cameron's Illustrated Screenplay an essential companion to the #1 bestseller James Cameron's Titanic.

    Quick-witted and distinctively unique, Juno walks Dancing Elk High's halls to her own tune—preferably anything by The Stooges—but underneath her tough, no-nonsense exterior is just a teenage girl trying to figure it all out.While most girls at Dancing Elk are updating their MySpace page or shopping at the mall, Juno is a whip-smart Minnesota teen living by her own rules. A typically boring afternoon becomes anything but when Juno decides to have sex with the charmingly unassuming Bleeker (Michael Cera). Faced with an unplanned pregnancy, she and best friend Leah (Olivia Thirlby) hatch a plan to find Juno's unborn baby the perfect set of parents courtesy of the local Penny Saver.They set their sights on Mark and Vanessa Loring (Jason Bateman and Jennifer Garner), an affluent suburban couple longing to adopt their first child. Luckily, Juno has the support of her dad and stepmother (J. K. Simmons and Allison Janney). Juno's physical changes mirror her personal growth while the veneer of Mark and Vanessa's idyllic life starts to show signs of cracking. With a fearless intellect far removed from the usual teenage angst, Juno conquers her problems head-on, displaying a youthful exuberance both smart and unexpected.

    They are immediately attracted. Despite knowing this may be the only time they will see each other, in the next few hours in the city of Vienna, they share everything and promise to meet again.    Nearly a decade later, Jesse, now a novelist on a publicity tour, sees Celine in a bookstore in Paris. Again their time is short, and they spend it reestablishing the connection they experienced on their first meeting. Romantic, poignant, understated, and often profound, these two screenplays are sure to become classics in their own right.

    

    Though already a widely acclaimed novelist, the author of such modern classics as "The Orchard Keeper" and "Child of God," McCarthy had never before written a screenplay. Using nothing more than a few photographs in the footnotes to a 1928 biography of a famous pre-Civil War industrialist as inspiration, the author and Pearce together roamed the mill towns of the South researching their subject. One year later McCarthy finished "The Gardener's Son," a taut, riveting drama of impotence, rage, and ultimately violence spanning two generations of mill owners and workers, fathers and sons, during the rise and fall of one of America's most bizarre utopian industrial experiments. Produced as a two-hour film and broadcast on PBS in 1976, "The Gardener's Son" recieved two Emmy Award nominations and was shown at the Berlin and Edinburgh Film Festivals. This is the first appearance of the film script in book form.Set in Graniteville, South Carolina, "The Gardener's Son" is the tale of two families: the Greggs, a wealthy family that owns and operates the local cotton mill, and the McEvoys, a family of mill workers beset by misfortune. The action opens as Robert McEvoy, a young mill worker, is having his leg amputated -- the limb mangled in an accident rumored to have been caused by James Gregg, son of the mill's founder. McEvoy, crippled and isolated, grows into a man with a "troubled heart"; consumed by bitterness and anger, he deserts both his job and his family. Returning two years later at the news of his mother's terminal illness, Robert McEvoy arrives only to confront the grave diggers preparing her final resting place. His father, the mill's gardener, is now working on the factory line, the gardens forgotten. These proceedings stoke the slow burning rage McEvoy carries within him, a fury that ultimately consumes both the McEvoys and the Greggs.

    Not least among the casualties is the notion that cinema and literature are two separate spheres. For in his screenplay, Nabokov married the structural and narrative felicities of great cinema to prose as sensuously entrancing as any he had ever written, resulting in a work that will delight cineasts and Nabokovians alike.

    The play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.

    Carnelle enlists half-blind seamstress Popeye to help her efforts. Meanwhile, Carnelle’s cousins, Elain and Delmont, are forced to come to terms with their late mother’s legacy, against their own desires. Beth Henley’s signature messy characters fit imperfectly into tragi-comic portraits of the American South.

    The next day, a dazed and confused Pete Dayton is found in Madison's cell. Dayton has no memory of how he came to be there. Madison has gone missing. What follows may be reality or it may be part of a highly organized hallucination that Fred Madison is undergoing. Lost Highway refuses to yield its secrets readily. It communicates, not just through words, but through images and - most of all - through the mental states these words and images conjure up.

    Andre Gregory is an intense, highly experimental theater director and playwright in search of life's meanings and spiritual revelations. His friend, Wally Shawn, is an actor and playwright living in New York who is more preoccupied with the search for his next meal. As Andre recounts his global journeys involving esoteric theatrical experiments and mystical adventures, Wally listens with more than skepticism, as his attitudes shift among wonder, puzzlement, admiration, and anger. What finally emerges is a sensitive portrait of a friendship that survives and transcends contransting assumptions about love, death, art, and man's continuing quest for self-fulfillment.

    This volume contains the complete screenplay as well as a behind-the-scenes look at how the Oscar-winning movie was made, by one of its writers, Howard Koch. Charles Champlin, Roger Ebert, Umberto Eco, and others contribute incisive analyses of the movie's timeless appeal, and twenty-five beautifully reproduced stills capture the dramatically charged scenes of this true American classic.

    So Burt and Verona head out on the road, across America, looking for the right place to call home. Along the way they encounter a succession of strange and hilarious friends and relatives (played by a cast that includes Jeff Daniels, Catherine O’Hara, Maggie Gyllenhall, Josh Hamilton, Allison Janney, and Jim Gaffigan), most of whom have no idea what they’re doing. In the end—with and despite the help of those they meet on their journey—Burt and Verona come closer to an understanding of their own definition of home and family.

    Weller Martin is playing solitaire on the porch of a seedy nursing home. Enter Fonsia Dorsey, a prim, self righteous lady. They discover they both dislike the home and enjoy gin rummy so they begin to play and to reveal intimate details of their lives. Fonsia wins every time and their secrets become weapons used against one another. Weller longs for a victory to counter a lifetime of defeats but it doesn't happen. He leaves the stage a broken man and Fonsia realizes her self-righteous rigidity has led to an embittered, lonely old age. "A thoroughly entertaining lesson in the fine art of theatrical finesse. The closest thing the theatre offers to a duel at 10 paces."-The New York Times"Extremely intelligent..fine bittersweet comedy...Funny, sad, profane, eloquent, touching, beautiful."-WABC-TV"Perfect...A vibrant study on loneliness, disillusion, old age and death yet fiercely funny."-The Boston Globe