The Script-O-Rama site is infected with all links redirecting to different weird sites – ” googlegllupdstat dot com” and “chenzyconsulting dot com” – all likely malware sites. I don’t recommend clicking on anything on these sites.
I’ve converted all the 2000+ Script-O-Rama links on Scripts on Screen to the archived versions on archive.org.
Script-O-Rama is one of the earliest transcript/script sites, they’ve been around since 1997. For some films they have the only available transcript that we know of.
The Worst Person in the World, Written by Eskil Vogt &Joachim Trier
ADAPTED SCREENPLAY
CODA, Screenplay by Siân Heder, Based on the Original Motion Picture La Famille Belier by Eric Lartigau, Victoria Bedos, Stanislas Carree de Malberg, Eric Lartigau and Thomas Bidegain
Drive My Car, Screenplay by Ryusuke Hamaguchi & Takamasa Oe
CODA, Screenplay by Siân Heder, Based on the Original Motion Picture La Famille Belier by Victoria Bedos, Stanislas Carree de Malberg, Eric Lartigau and Thomas Bidegain
tick…tick…BOOM!, Screenplay by Steven Levenson, Based on the play by Jonathan Larson
West Side Story, Screenplay by Tony Kushner, Based on the Stage Play, Book by Arthur Laurents, Music by Leonard Bernstein, Lyrics by Stephen Sondheim, Play Conceived, Directed and Choreographed by Jerome Robbins
Alfonso studied film in the UNAM in Mexico. It was there where he met Emmanuel Lubezki, arguably one of the best cinematographers ever, and a recurrent collaborator of Cuarón. A few years later he directed several episodes for La Hora Marcada, now considered a cult show in Mexico, and it was during this time where his enduring friendship with Guillermo del Toro started.
Altogether with Lubezki, Del Toro, and González Iñárritu, Cuarón stands out as one of the main representatives of a truly golden generation of Mexican filmmakers. A single film directed in his homeland was enough to pique the interest of Hollywood producers, and pretty soon he went on to direct his first feature films in English language. He has alternated languages during his career, earning the respect of international reviewers with meaningful melodramas (Y tu Mamá También, Roma) and action/fantasy flicks (Pan’s Labyrinth, Gravity).
Cuarón is undoubtedly a great storyteller with a knack both for emotional narrative and stunning visuals. The tracking shot has become one of his trademarks as a director, as exemplified in the spectacular car chase and the final uprising in Children of Men.
I just came across Vincenzo Natali’s new website launched late last year. It is a remarkable collection of production materials. Multiple drafts of scripts, storyboards, concept art, posters, production stills and more. He has shared materials from:
Born and raised in Wisconsin, he obtained his bachelor’s in film in the UCLA. After some minor hits (Bad Influence, Death Becomes Her), in which Koepp already proved his ability to combine audience-pleasing action with a solid plot, he was chosen by Steven Spielberg to write Jurassic Park.
Koepp has become one of Hollywood’s preferred go-to writers ever since, especially for big budget adaptations (The Lost World, Spider-Man, Angels and Demons). He has collaborated repeatedly with some of the most commercially successful directors of the last decades, including Ron Howard, Robert Zemeckis, Brian DePalma, and of course Spielberg among others.
His knack for showiness and entertainment is complemented by his flexibility as a writer: he has provided quality scripts for a wide variety of genres, occupying the director’s chair in some occasions as well with moderate success (The Trigger Effect, A Stir of Echoes, Ghost Town), and created the TV series Hack. He will return to his Spielberg partnership for the fifth time as the screenwriter of the last Indiana Jones installment.
We are all used to seeing bestsellers consistently adapted to the big screen, and the line ‘I wish they made a movie out of this’ has become something almost granted, as we know it won’t be long until a major studio decides to make profit out of the latest literary phenomenon. However, some filmmakers have gone one step beyond and tried to adapt more obscure titles; even books that nearly everybody thought were impossible to adapt.
Some authors are known for writing with a particularly complex, deep, or metaphysical prose, which makes their works difficult to be narrated by using the more visual elements of cinema. Such is the case of William Faulkner, Joseph Conrad, William Burroughs, and others.
Yet this didn’t stop some notably daring filmmakers to bring their work to the big screen. The reception to this kind of retellings tends to be mixed, while this has also produced some undeniably unique films.
In other cases, the filmmakers have taken just a few elements from a book to produce a story that echoes themes of the source material, but has all the strength and personality of a tale anew that stands on its own. This is what Paul Thomas Anderson did in There Will Be Blood, loosely based in the novel Oil! by John Updike, while Woody Allen wrote and directed a hilarious parody of a sexuality essay with Everything You’ve Always Wanted to Know About Sex.
These are some notable examples of film scripts that have adapted unusual or obscure literature:
Once an acclaimed CBS TV series, a quarter of a century would have to pass for Mission: Impossible to have its first feature film adaptation. It did so under the guidance of Brian DePalma and with a script that gathered top-notch names in screenwriting: Steven Zaillan, Robert Towne and David Koepp.
The film was criticized for focusing on ‘stylish’ action sequences in a way the original series didn’t, but the script still had a clever treatment of intrigue and mind games that resembled more the spirit of the show. Coupled with great performances by Tom Cruise and Jon Voigt, M:I was successful enough as to make Paramount consider the possibility of a sequel.
Despite an evident drop of quality in its second installment, young director and producer JJ Abrams managed to convince audiences and reviewers alike with the notable Mission:Impossible III. Brad Bird delivered a very entertaining flick with Ghost Protocol and then Christopher McQuarrie, perhaps one of the best American screenwriters of our time, returned a bit to the convoluted schemes of the first installment with Rogue Nation and, very recently, Fallout.
Tom Cruise has remained loyal to the saga all throughout, providing a very effective and charismatic driving force that has been paired with popular names in both the direction and writing departments. M:I is arguably the most successful espionage movie franchise altogether with James Bond, and a phenomenal proof that story quality can be retained through a long running commercial series.
You must be logged in to post a comment.