A mixture of poetry, metaphysics, and common sense, they are ideal for the imaginative director and are easily adapted for radio or small acting areas.

    Whether you've watched "Casablanca" countless times or you're going to see it for the first time, "The Casablanca Companion" will both deepen your understanding and heighten your enjoyment.

    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 story is basically one long chase, chiefly after two naughty grocer's assistants who, when their master goes off on a binge with a new mistress, escape to Vienna on a spree. "While preserving the beautiful intricacies of this construction, Stoppard has embellished Razzle with a dazzle of verbal wit an unremitting firework display of puns, crossword puzzle tricks and sly sexual innuendos." London Daily Telegraph . "Apart from Jumpers and The Importance of Being Earnest there may be no script in English funnier than On the Razzle." London Observer.

    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.

    Now, here is the complete shooting script of this extraordinary film from Universal Pictures, Dreamworks Pictures, and Spyglass Entertainment, featuring a foreword from "Seabiscuit" author Laura Hillenbrand and thirty full-color still photos from the motion picture. An American epic of triumph and perseverance set during the Great Depression, this stunning adaptation brilliantly dramatizes the story of the three men and the down-and-out racehorse that took them and the entire nation on the ride of a lifetime.

    Dalloway -- a postmodern masterpiece whose minimal action takes place on a single June day in postwar London. The Hours progresses in fuguelike fashion: First we meet Clarissa Vaughan, a New York book editor dubbed "Mrs Dalloway" by her longtime friend and former lover Richard. Next, Cunningham presents Woolf herself, beginning work in 1923 on what is to become Mrs. Dalloway. And finally we are introduced to Laura Brown, a California housewife who is avidly reading Woolf's novel. Scenes from these three narratives are presented in recurrent identical succession: "Mrs. Dalloway," Mrs. Woolf, Mrs. Brown -- all bristling with connections and startling parallels. The "Mrs. Dalloway" strand is particularly rich, filled as it is with one-to-one correspondences to Woolf's novel. But the deepest and most important thing that The Hours shares with Mrs. Dalloway is "the feeling," as Woolf called it, "that it was very, very dangerous to live even one day." Cunningham's three women proceed through the day, through the hours, trying to keep themselves psychologically intact, like someone carrying a glass of water filled to the brim through a crowd and endeavoring not to spill it. They hesitate before plunging into the day because they know how hard it is to live in the world and remain identical with oneself. And they puzzle over a universal dilemma: how to bring the self into the world without its getting broken in the process. In The Hours, Michael Cunningham has explored this dilemma with an impressive and moving subtlety worthy of his great precursor. Benjamin Kunkel

    Van Sant says we can see how badly Damon drives by watching the film's last scene, in which he is actually driving the car with the camera mounted on it. But Damon and company write better than he drives; this script contains some of the boldest, best monologues since Pulp Fiction.Van Sant and cast member Robin Williams helped the young actors tame the tigers in their cranial tanks, trimming the script into a precision instrument. Though the stills from the film are not perfectly matched to their places in the script, this story remains as much a joy to read as it is towatch on the big screen.

    Marc Norman and renowned dramatist, Tom Stoppard have created the best screenplay of the year according to the Golden Globes and the New York Film Critics Circle.

    Screenplays for Pink Flamingos and Desperate Living, and the unmade sequel Flamingos Forever.

    From the Rebels' defeat at the Battle of Hoth to the battle between Luke and Darth Vader, The Empire Strikes Back continues the story of Luke, Leia, Han, Chewie, and the others as they struggle to overthrow the evil Galactic Empire.

    

    The book is complete with historical annotation, with 340 research notes and 97 reactions and commentaries by Norman Mailer, Tom Wicker, Gerald R. Ford, and many others.

    In a series of elegant, nonchronological scenes spanning the years from 1946 to 2015, the play hopscotches through Mary Page Marlowe’s quiet existence as an accountant from Ohio—complicating notions of what it means to lead a “simple life.”

    A unique guided tour of the techniques of acting.