Text extracted from opening pages of book: Case History of a Movie The grips move the camera: Head Grip Leo Monlon at left. BY DORE SCHARY AS TOLD TO CHARLES PALMER RANDOM HOUSE - NEW YORK CopyrigH& 295P by Loew's Incorporated First Printing All rights reserved under International and Pan-American Copyright Conventions. Published in New York by Random House, Inc., and simultaneously in Toronto, Canada, by Random House of Canada, Limited. The author wishes to thank the New York Times Magazine and The Hollywood Reporter for ...
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Text extracted from opening pages of book: Case History of a Movie The grips move the camera: Head Grip Leo Monlon at left. BY DORE SCHARY AS TOLD TO CHARLES PALMER RANDOM HOUSE - NEW YORK CopyrigH& 295P by Loew's Incorporated First Printing All rights reserved under International and Pan-American Copyright Conventions. Published in New York by Random House, Inc., and simultaneously in Toronto, Canada, by Random House of Canada, Limited. The author wishes to thank the New York Times Magazine and The Hollywood Reporter for permission to use material which appears in the final chapter of this book. Manufactured in the United States of America Designer: Ernst Reichl CASE HISTORY OF A MOVIE FOR MIRIAM GENERAL CONTENTS FOREWORD, XIX PART ONE: The Story and the Script, i PART TWO: Preparation - for Production, 37 PART THREE: Shooting the Picture, 81 PART FOUR: Finishing the Picture, 167 APPENDIX: Crew, Credits and Cast Of THE NEXT VOICE YOU HEAR, 240 CONTENTS PART ONE: The Story and the Script 1 MOVIES A collaborative art, 3 2 THE STORY SOURCE, 5 The Germ idea. Studio Story Departments; ' what ele ments they seek in a story - for - filming. 3 THE PRODUCER, 11 Who the producer is and' what he does. Converting a writable story idea to a filmable idea. Sure-fire picture projects versus gambles. The executive's - function. Buy ing the story. 4 PLANNING THE ADAPTATION, 17 Expanding a skeleton approach idea into a detailed treatment. Some philosophy of the film medium, and what a picture story demands pom the writer. 5 WRITING THE TREATMENT, 22 The story - construction process. Laying out a picture for controlled-cost production. 6 THE SCREENWRITER AND THE SCRIPT, 27 Converting and expanding aTreatment into a detailed screenplay; problems and processes. Sideline considera tions Legal . . . Censorship . . . foreign Markets. PART TWO: f reparation for Production 7 CASTING THE PICTURE, 39 New-talent discovery and development. The economic background of high star salaries. Marquee draw Stars versus new - faces, a. policy decision. Cast readings and tests. Casting the feature parts and Xli CONTENTS 8 THE ART DIRECTOR, 48 His red job and importance; the how to do if 9 depart ment. The set meeting, Set design the designer's ap proach; cost of sets, their spirit Other Preparations: Make-up. Wardrobe and costume design. Publicity plan ning; determining the exploitation approach to the pic ture. 9 THE PRODUCTION DEPARTMENT, 56 The Unit Manager. A prime cost; the number of days before the camera. Overhead costs. Breaking down the script: master scenes . . . sequences. The shooting sched ule: reasons for shooting scenes out of story continuity. The Assistant Director. Footage estimators. The budget meeting. How pre-production preparation combats soar ing costs. 10 THE DIRECTOR PREPARATION WORK, 70 The director's - function; transferring a story - from words to images. His preparation activities. Cast rehearsals. Script changes, interpretations, and additions. Directorial touches bits of business. The final reading with the producer. Green light. PART THREE: Shooting the Picture 11 THE CAMERA STARTS TURNING, 83 The first morning. How a stage comes up to speed. The crew members and what they do. Prelimnary set light ing. Camera rehearsals. Stand-ins and doubles. The takes ( a master shot). The still cameraman. Lunch break; the commissary. 12 THE MEN OF THE CREW, 93 Grips, and grip work.Electricians, and some principles of set lighting. Greensmen, and nursery work. Props and prop men*
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