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4,5 von 5 Sternen
4,5 von 5 Sternen

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am 3. Februar 2000
I read it in one week. One week! Does't seem that impressive, but that specific week was a very busy ONE and the average time it takes me to read a 400+ page book in a (to me) foreign language is about two months... IF you are interested in the movie-business, read this thing, it'll be worthwile to you, and that's garanteed by this humble screenwriter. Want to know why you shouldn't invent a story that contains fifty camels raging through Central Park? Read Goldman's book. Want to know what is left of your screenplay after the sometimes (literally) disastrous influence of directors, producers, actors, directors of photography, et many cetera? Read tha damn book. Want to know how big you are, as a screenwriter, in the business (think atom, AND rhinoceros)? Read it. Want to read a book that is not only very interesting, but also makes you laugh out loud occassionaly? ... O.k., he swears about every other page, but if you can't handle swearing on paper, just don't even think of entering the magically beautiful world of Hollywood (or would it not...accept you?). And his use of language makes his writing strong, impressive. It leaves an imprint on your brain, that either makes you turn away from any Hollywood aspirations for ever, or wanting to pack and head for L.A. right away.(Why? Read the book!)
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am 8. Juni 2000
This book is considered sort of a must-read for anyone interested in screenwriting, and I must admit that it was filled with lots of fascinating anecdotes about movie people and insights into what goes into the making of a film.
However, a couple things turned me off. First, It was written in 1982. Other than computers and the internet, there is perhaps no field that has changed more rapidly in the past 18 years than movies. Therefore, the entire book just felt very very dated. Goldman makes constant references to "current" films, many of which turned out to be complete flops or are now unfamiliar altogether. Also, he has a rather amusing habit of making predictions about the future of American cinema, American tastes, and future events in general. Most of them turned out to be completely off base. Finally, there's no question that Mr. Goldman has a huge ego. Perhaps much of that is well-deserved, and he tries to temper it with humble self depreciation, but it still comes across loud and clear. I found that rather off-putting.
Overall, there were parts of this book that I very much enjoyed, and I'm looking forward to reading Which Lie Did I Tell This Time, hoping it will be a more up-to-date version of Adventures in the Screen Trade.
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am 13. April 2000
The allusion to the "skin trade" in the title isintentional of course. Goldman is playing the old saw about thescreenwriter as very well-paid whore. Be that as it may, this is an excellent book. If you're even thinking of becoming a screenwriter you ought to read it. You may change your mind, and then again you may not. You'll learn some screenwriting tricks and get a vivid glimpse inside the industry, circa 1982.
Goldman has a style that is as earnest as all heck, emphatic, breezy, engaging, flippant, a little high schoolish-but that plays. He thinks very highly of himself, but he is also a modest man. (Reasonable combination.) He trashes some people here, lionizes some others, but bottom line, he's not afraid to reveal himself, foibles and all. His two main rules of Hollywood are: NOBODY KNOWS ANYTHING and SCREENPLAYS ARE STRUCTURE (his caps). He means that nobody knows ahead of time what is going to be a successful movie, and it's a mistake to think that screenplays are mainly dialogue (I used to think that) because what really counts is the structure.
Part One is about "Hollywood Realities" and it's the best part of the book: who controls whom and what, the pecking order, etc. Part Two he calls "Adventures" and it's about what it was like making some of the movies he was involved in; and remember Goldman wrote some top drawer films: Butch Cassidy and the Sundance Kid (1969), All the President's Men (1976), to name a couple. This part is also very good. Part Three he calls "Da Vinci" from the title of a short story he wrote as a young man that he turns into a screen play for the edification of his readers. The story is a dog and the screenplay not very readable, but it's good textbook stuff. A highlight is George Roy Hill's acidic comments on the script. I give Goldman credit for including that and I also give him credit for telling it like it is from his POV. He's one very professional, very hard-working writer with a fine understanding of movie psychology, somebody well worth listening to. END
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am 18. September 1997
All would-be writers should read this book, even if they're not interested specifically in screenwriting, which is of course its primary focus. Battles to get your words through committees exist in all fields of commercial publishing, and the same rules that make a compelling screenplay work are applicable to all stories, be they fiction or non-fiction, print publications, film, or television. Always find your spine and be prepared to throw out anything that doesn't stick to it, Goldman writes; that simple rule is the most useful thing anyone ever told me about writing, ever.

Wendy M. Grossman
--freelance journalist and author
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am 22. Februar 1999
I had to read this for a film class. It was the most enjoyable required reading I had during the entire four years of school. If you're looking for a realistic viewpoint of a Hollywood screenwriter, or just a realistic view of Hollywood, this is one of the best books you could read.
His in-depth explanation of the planning of the "Butch Cassidy and the Sundance Kid" screenplay is a must read for anyone looking to work in movies.
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am 8. April 1999
Fascinating, in-depth, irreverent, funny, inspiring...
Although he often bites the hand that feeds him, Goldman gives a stirring account of back-lot Hollywood, and how it views writers. Written in the 80's, much of Goldman's views still ring true. Truly a must read for anyone trying to break into Hollywood (especially screenwriters), or just anyone hungry for fascinating anectdotes.
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am 3. Mai 1997
Funny, acute observations of Hollywood and The Biz by the Oscar-winning screenwriter of Maverick, Marathon Man and All the President's Men, among many others. It's required reading, if only because it includes the entire script and inside story of Butch Cassidy and the Sundance Kid
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am 28. Juli 1999
Absolutely one of the best books I have ever read. Since reading it, I have read several books along the same lines, but none have been able to top Goldman's classic. A must read for any Hollywood fan!
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am 1. Juli 1999
That's the way a book about scriptwriting looks when the author is in the know. Although based mainly on 60s and 70s stuff the information gathered and delivered is still valid (I think).
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am 28. November 2016
Even today, in 2016/17, this is still the best book to learn about the movie business: informative, authentic, candid and most entertaining.
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