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Which Lie Did I Tell?: More Adventures in the Screen Trade (Vintage) (Englisch) Taschenbuch – 20. Februar 2001

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Veteran Hollywood screenwriter William Goldman's sequel to Adventures In The Screen Trade is every bit as good as its illustrious predecessor. Part memoir, part screenwriting lesson, Goldman's book is everything that his readers have come to expect--opinionated, chatty, digressive and (most importantly) honest. Goldman is utterly distrustful of the Hollywood machine and with good reason: as he warns fellow screenwriters, "Most studios are planning on firing you as soon as you hand them your first draft." As the writer of numerous hits including Butch Cassidy and the Sundance Kid, Marathon Man and Misery, few people are better placed to offer an insider's view of the film industry, and even fewer could be so entertaining in the process.

The way Goldman tells it, screenwriting is an unstable business at best. Yet his enthusiasm is evident in practically every sentence and his advice on writing is invaluable for those who would follow in his Oscar-winning footsteps. Throughout the book, Goldman offers numerous insights into his creative process, culminating in the final third of the book with an original script, followed by the critical comments of other top screenwriters. However, this is not just a great read for budding writers-Goldman's tales about Hollywood are so compelling that even the most casual film fan will be fascinated by this world in which, as the author has famously maintained, "nobody knows anything". --John Oates -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe.

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?Aspirants and aficionados alike ought to be queuing up outside bookstores all over America to lay hands on Which Lie Did I Tell? It?s that good.??The Washington Post

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I don't think I was aware of it, but when I started work on Adventures in the Screen Trade, in 1980, I had become leper in Hollywood. Lesen Sie die erste Seite
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I'm a huge fan of Goldman's books and most of his screenplays, and the original Adventures in the Screen Trade still stands as the definitive how-Hollywood-works primer. It's great to have him deconstructing the industry once again, praising some unlikely subjects--who would think the 67-year old author of Marathon Man would have picked the Farrelly brothers' There's Something About Mary as 1998's best film?--and attacking even more unlikely subjects--would you expect the screenwriter of A Bridge Too Far to loathe Saving Private Ryan? Goldman does, and how.) I have two key problems with Which Lie Did I Tell, however. One is, many Goldman fans will have seen a lot of this text before. Much of this material has appeared in Premiere Magazine over the years, as well as in collections of Goldman's screenplays. Long-time Goldman enthusiasts, then, might be a bit miffed about buying recycled material. My other misgiving is Goldman's tendency to rely too much on Butch Cassidy and the Sundance Kid when he's trying to get a point across. The original Adventures, remember, included the complete Butch screenplay and a lot of background material about the real-life duo and the making of the film. So it's disconcerting to see scene after scene from Butch used in the new book, along with many of the same anecdotes Goldman told us the first time around. On the other hand, if you're going to use a single film for a lot of your examples of screenwriting, you could do a lot worse than an Oscar-winning Western classic. So, if you read (and liked) Adventures in the Screen Trade and haven't read Goldman's movie pieces elsewhere, give this review an extra star and give Which Lie Did I Tell a try. If you know every line of Adventures and sought out everything Goldman has written since then, you might consider waiting for the paperback. (Hey, he's rich and his children are grown, no one's going to starve if you pass on the hardcover.)
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This book was probably a better concept on paper than the result. I knew that several parts of this book were previously published in Premiere magazine, but I bought it on the strenght of Goldman's first "Adventures in the Screen Trade" which I really enjoyed. "What Lie Did I Tell?", however, doesn't live up to its predecessor. It just comes across as "thrown together" as opposed to "thought out".
What saves this from being a total waste of time is Goldman's conversational style of writing. It was also nice to learn a bit (and I emphasize "a bit") about Goldman himself and his childhood, his teaching at Princeton University.
The best parts for me: 1. The section where he discusses what makes a good story - he uses several newspaper/magazine articles as starting points and then points out what he thinks would make good scenes/sequences in a film. 2. THE BIG A - this is a spec Goldman wrote for the book and then sent to other professional screenwriters (Scott Frank, Tony Gilroy etc.) and gets their input. Interesting opinions - but all of them go to show that, essentially, art is subjective.
One format note: does Goldman really use all those CUT TOs in his scripts? I know he's a pro, and I'm not, but all of the profesional scripts I've read in the past 8 years do not use those. Go figure.
Last thought: Pantheon needs better copy editors. I found several typos (yes, I know it's a first edition but...). This is, afterall, a book about writing. I'd be mortified if it were my book.
BOTTOM LINE: Save your money, get it from your local library when they get it in stock. And that's a shame, because I was totally psyched to read this - the cover design is very cool though.
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In his previous book about Hollywood, Adventures in the Screen Trade, legendary screenwriter Goldman (Butch Cassidy and the Sundance Kid, All the President's Men, Misery, and on and on) gave us a buoyantly cynical inside look at how things really work in the film industry, from a writer's perspective. In a breezy style reminiscent of Tom Wolfe's (The Right Stuff) before he turned to fiction, Goldman generally avoided standard dish and instead tried to get us to understand the sorts of things go on, albeit using terrifically entertaining stories to illustrate his points. He's the one who put forth the seemingly innocuous but remarkably penetrating maxim about filmmaking -- "Nobody knows anything" -- and then proceeded to prove the thesis beyond a reasonable doubt.
Now, with the benefit of nearly two additional decades of experience, he revisits the scorched landscape he so deftly set fire to with the first book, and makes sure every square inch stays perfectly charred. This time, he concentrates more on the art and science of writing a screenplay, even going so far as to present a new one in its entirety, one which he invited half a dozen noted writers to critique mercilessly, which they did, said critiques he then gives us verbatim in all their unsullied mercilessness.
I'm going to stop now -- I promised myself I would before I ended up writing a book-length review because there is so much to say. Let's leave it at this: Having flirted (only briefly but riotously) with the film business myself, I don't agree with all of his observations, but every one of them is reasonable and supremely entertaining. If you enjoy films and toweringly clever and acerbic writing, you will love this book.
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