By William Goldman
As befits greater than 20 years in Hollywood, Oscar-winning screenwriter William Goldman's glowing memoir is as pleasing as a few of the motion pictures he has helped to create. From the author of Butch Cassidy and the Sundance child, all of the President's males and Marathon guy, Adventures within the monitor alternate is an intimate view of movie-making, of appearing greats equivalent to Redford, Olivier, Newman and Hoffman, and of the pains and rewards of operating contained in the most fun company on the planet.
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As befits greater than two decades in Hollywood, Oscar-winning screenwriter William Goldman's glowing memoir is as interesting as the various movies he has helped to create. From the author of Butch Cassidy and the Sundance child, the entire President's males and Marathon guy, Adventures within the monitor exchange is an intimate view of movie-making, of appearing greats corresponding to Redford, Olivier, Newman and Hoffman, and of the rigors and rewards of operating contained in the most enjoyable enterprise on the earth.
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Extra info for Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting
But with all that, nothing much happened to him. He made some movies in England-lead roles-but they stiffed. He came to America eventually and it was still the same story: too short, too "special," no chance. The best he got was a good supporting role in Foul Play. But Chevy Chase was the romantic lead in that movie. If you had said, back in '78, that Dudley Moore could be a romantic lead, they would have locked you out of The Bistro. Then George Segal left 10. Just before shooting, he walked the picture.
Finally, after another pause, he nodded. "They're right," The point being that if a studio giant couldn't guess the biggest star in his business, the territory is a bit murkier than most of us would imagine. A lot of it has to do with playing hunches. Example: In the early seventies, two big Broadway musicals were made into movies. Cabaret starred Liza Minnelli and was a big hit. Fiddler on the Roof starred Topol and took in twice as much money. But the prevailing wisdom was this: Minnelli was a brand-new star, Topol was carried by the property.
I thought they might have to stop because my trembling would show. ") A recent biography of Clift reports that he turned down, in one short stretch, four roles: the William Holden part in Sunset Boulevard, the James Dean part in East of Eden, the Paul Newman part in Somebody Up There Likes Me, and the Brando part in On the Waterfront. These were all crucial roles in their careers-would these wonderful actors have become stars if Clift had given the thumbs-up sign? Hard to say for sure. It's easy to say, though, that without the aid and assistance of George Raft, there is no Humphrey Bogart.
Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting by William Goldman