The newest screenplay from the Oscar®-nominated writers of Election and About Schmidt, Sideways is the tale of two men's adventure in California wine country.Based on Rex Pickett's acclaimed first novel, Sideways tells the story of Miles (Paul Giamatti), a failed novelist, and his soon-to-be-married friend Jack (Thomas Haden Church), a washed-up actor.To salute the remains of their youth, the two men take one last road trip in the week before Jack's wedding.A serious wine enthusiast, Miles is determined to educate his friend on the region's beloved Pinot Noir wines before the week is out.Jack indulges his best friend's passion for the grape but is mainly interested in living his last week of bachelorhood to the hilt.Trouble ensues with wine and women (Virginia Madsen and Sandra Oh), and the duo comes to some profound realizations as they come to terms with maturity.

    Together with Tyler Durden – part-time projectionist, banquet waiter, soap-maker and anarchic genius – he creates Fight Club, where he and men like him can get away from their work-dominated, consumer-driven, image-obsessed lives.Soon there are fight clubs in basement bars across the country; men with cuts, bruises, stitches and missing teeth wherever you look. Tyler Durden has become an urban legend – but when he invents Project Mayhem, things begin to escalate. There’s only one thing to do: shut down Fight Club. But have they created a monster they can't control?This full-cast BBC radio dramatisation of Chuck Palahniuk's visceral, unflinching novel stars Patrick Kennedy as the Narrator, Sam Hazeldine as Tyler and Elaine Cassidy as Marla.Cast:The Narrator...Patrick KennedyTyler Durden...Sam HazeldineMarla Singer... Elaine CassidyBig Bob...Martin ShermanDoctor/Boss...Nigel WhitmeyRecruit One...Danny MahoneyMechanic...John SchwabTed...Sam DaleGlenda...Jane SlavinChloe...Ayesha AntoineDramatised by Tracey Malone and Ed WhitmoreProduced by Heather LarmourDuration: 1 hour approx.

    The story of two white-collar managers, Chad and Howard, who maliciously plot to jointly romance the lonely, deaf, beautiful office temp Christine before simultaneously dumping her, is cool and compelling in its depiction of the worst sorts of emotional abuse. What begins as a cat-and-mouse game of one-upmanship quickly escalates into full-scale psychological warfare. Only too late does this 'frat boy' prank reveal itself as deadly serious, with a struggle between the two men at the heart of the battle. The woman is only a means to an end, a pawn easily captured and tossed aside in a dark, wicked duel for corporate ascension.

    This is the first book to explore the varied philosophical aspects of the film. Beginning with an introduction by the editor that places the film and essays in context, each chapter explores a central theme of Fight Club from a philosophical perspective. Topics discussed include:Fight Club, Plato's cave and Descartes' cogito moral disintegration identity, gender and masculinity visuals and narration.Including annotated further reading at the end of each chapter, Fight Club is essential reading for anyone interested in the film, as well as those studying philosophy and film studies.

    The book unveils the journey of the personal philosophy of its makers, compelling a nation to think.

    A figure of speech inwhich a part is used for the whole, as in the screen for movies.From Charlie Kaufman, perhaps the most distinctive screenwritingvoice of our generation, comes a visual and philosophicadventure of epic proportions. Much as he did with hisgroundbreaking scripts for Being John Malkovich, Adaptation,and Eternal Sunshine of the Spotless Mind, Kaufman twists andsubverts the form and language of film as he delves into themind of a man who, obsessed with his own mortality, sets outto construct a massive artistic enterprise that could give somemeaning to his life. Starring Philip Seymour Hoffman,Samantha Morton, Michelle Williams, Catherine Keener,Emily Watson, Dianne Wiest, Jennifer Jason Leigh, HopeDavis, and Tom Noonan, and directed by Kaufman,Synecdoche, New York is an epic story of grand artistic ambitionsand creative madness.This Newmarket Shooting Script® Book includes:Exclusive introduction by Charlie KaufmanComplete Shooting ScriptExclusive Q&AColor photo sectionComplete cast and crew credits

    At the tender age of eleven she is given to Bank Roll, who has his hand in every type of hustle, to settle a drug debt for her parents. Bank Roll is much older and once he sees how unique Lexi is, he breeds her to be his special girl, falling in love with her in the process. She loves him as well, but has him ripped away from her life too soon.While many use the ‘molested at a young age’ story as an excuse, Lexi takes the cards she is dealt and learns all she can because she’s a grown woman in a girl’s body. Not one to settle or let life take over her, she uses the gems she has learned over the years and dabbles in everything she can, just like her mentor. A few chance meetings put her in position to use what she has to get what she needs, and while still in her teen years not only is she on top of the world, but she is also running it. Lexi knows that street smarts can get you so far, but can her Savage instincts take her where she wants to be?

    With his country on the brink of war and in desperate need of a leader, his wife, Elizabeth (Helena Bonham Carter), the future Queen Mother, arranges for her husband to see an eccentric speech therapist, Lionel Logue (Geoffrey Rush). After a rough start, the two delve into an unorthodox course of treatment and eventually form an unbreakable bond. With the support of Logue, his family, his government and Winston Churchill (Timothy Spall), the King will overcome his stammer and deliver a radio-address that inspires his people and unites them in battle.As David Seidler writes in his introduction, "The King's Speech is about a great deal more than a speech impediment. It is about friendship. I'm talking about mentoring and support and a great deal of humor. We lose these deep, meaningful friendships at our peril."The Newmarket Press Book includes:A fascinating introduction by screenwriter David Seidler about how and why an idea that came to him almost thirty years ago evolved into the award-winning screenplayComplete Shooting ScriptComplete cast and crew credits

    So begins William Broyles, Jr.'s fascinating introduction, written exclusively for this book, about the process and challenges inherent in writing a screenplay that was not, by design, going to have a lot of dialogue in it, and about his collaboration with two extraordinarily gifted artists, actor Tom Hanks and director Robert Zemeckis.Broyles's introduction shows how a movie and its story evolve, shift, and shape while the creators grapple with all manner of internal and external choices: from developing what was Tom Hanks's idea into a story, and building a narrative structure and thematic threads into a screenplay, to researching the details of the specific—and ironic—situation of a FedEx executive stranded on a desert island.Also included in this unique Newmarket Shooting Script® edition is the complete shooting script, a preface to the script by Academy Award®-winning filmmaker Robert Zemeckis (Forrest Gump, Contact), movie stills, and complete cast and crew credits.

    What Rebecca Gilman makes of this familiar scenario is something startlingly real and compelling, delving deeply into the small space that can divide a feeling of hope from one of hopelessness, as Curt and Sandy both try to get a foothold in the American dream of a house, a job, a life, a relationship with another human being.Gilman's previous play, Boy Gets Girl, was acclaimed by Time magazine as the best play of 2000, saying that "with Spinning into Butter, her play about race relations on campus, Rebecca Gilman gave notice that she was a playwright to watch. And with this intense drama of a woman's encounter with a stalker, she became one to hail . . . It's not just a gripping play but also an important one." Marked by Gilman's characteristically sharp delineation of character, pitch-perfect dialogue, and effortless use of humor that is both biting and silly, Blue Surge is a worthy successor to these plays--an intimate look at the class struggle in America today as well as a brilliant example of the dramatic craft from one of today's most accomplished practitioners. It will have its world premiere at the Goodman Theatre in Chicago in the spring of 2001.

    A mystery, really. A man has been murdered. The mystery is, who he is, who murdered him and what were the circumstances? And to solve it, Wilson looks at the outsides and insides of his tiny, Middle Western town. He looks at a middle-aging woman who falls in love with the young man who comes to work in her cafe. He looks at a coarse, nasty woman mistreating her senile mother, who is obsessed with visions of Eldritch being evil and headed for blood-spilling. He looks at a tender relationship between a young man and a dreamy, crippled girl. But Wilson sees far more than this. He is grasping the very fabric of Bible Belt America, with its catchword morality ("virgin," "God-fearing") and its capability for the vicious. He senses the rhythm of its life and the cruelty it can impose. He understands the speech patterns of its loveless gossips, its sex-hungry boys, its compassionless preachers, its car-conscious blondes." In the end his portrait of Eldritch is full length, and the truth of its revelations will be pondered long after the stage lights have dimmed and the play has ended.

    His dialogue--abrasive, rhythmic--illuminates a modern aesthetic evocative of Samuel Beckett. His plots--surprising, comic, topical--have evoked comparisons to masters from Alfred Hitchcock to Arthur Miller. Here are two screenplays demonstrating the astounding range of Mamet's talents.         The Spanish Prisoner, a neo-noir thriller about a research-and-development cog hoodwinked out of his own brilliant discovery, demonstrates Mamet's incomparable use of character in a dizzying tale of twists and mistaken identity. The Winslow Boy, Mamet's revisitation of Terence Rattigan's  classic 1946 play, tells of a thirteen-year-old boy accused of stealing a five-shilling postal order and the tug of war for truth that ensues between his middle-class family and the Royal Navy. Crackling with wit, intelligent and surprising, The Spanish Prisoner and The Winslow Boy celebrate Mamet's unique genius and our eternal fascination with the extraordinary predicaments of the common man.

    Included is the original shooting script. With over thirty pages of material not used in the final film, along with a sixteen-page color section featuring rare artwork, production drawings, photographs of the cast and crew, and detailed annotations by the screenwriters.

    The film makes daring use of voice-over and rapidly shifting points of view and time frame, leaving conventional film language far behind.

    It's the end of the summer and the seasonal hurricanes loom on the horizon. Set against this background is a romance between two twelve-year-olds: Lucy Bishop, (who lives on the island with her parents [Bill Murray and Frances McDormand] and three younger brothers) and Sam (an orphan who is camping on the island with the Khaki Scout troop). Lucy and Sam hatch a secret plan to run away, and undertake a perilous journey though the woods and across the streams that criss-cross the island, to an isolated cove, where they set up their kingdom. They are pursued by the local sheriff (Bruce Willis) and the scout troop leader Scout Master Ward (Edward Norton). The follies of youth are matched by the compromises of age, and as the conflict between the generations escalates, the hurricane breaks upon the island putting all the characters at risk...