By William Goldman
Now to be had as an book for the 1st time!
No one understands the writer's Hollywood extra in detail than William Goldman. Two-time Academy Award-winning screenwriter and the bestselling writer of Marathon Man, Tinsel, Boys and ladies Together, and different novels, Goldman now takes you into Hollywood's internal sanctums...on and backstage for Butch Cassidy and the Sundance Kid, All the President's Men, and different films...into the luxurious places of work of Hollywood producers...into the operating lives of performing greats similar to Redford, Olivier, Newman, and Hoffman...and into his personal specialist reports and artistic notion techniques within the crafting of screenplays. You get a firsthand examine why and the way movies get made and what parts make an outstanding screenplay. Says columnist Liz Smith, "You'll be interested.
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Extra info for Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting
This is the same for many of the other work written by those who 36 American Television on British Screens worked in the industry. American programmes are mentioned, there is interest and a concern, but there is little concerted analysis of their role in British television. It might be argued that these works, sometimes covering between fifty and eighty years of broadcasting history, with a primary focus on the British broadcasting context, have little space to touch on such extraneous programmes and issues in much detail; this is true.
The Observer chose at this time (1960) to publish a memorandum to the committee entitled The Use of Television, a play on the title of Hoggart's work, Uses of Literacy. It noted, among other things, that the top ten programmes for the week ending on 18 September 1960 was dominated by lTV companies, indeed there were no BBC programmes in the list. The American series Riverboat and Cimarron City came, respectively, 1st and 2nd, while another, 77 Sunset Strip came 6th (The Observer, 1960). The resulting committee's report vindicated the BBe and proposed that it should run the new channel, what would become BBC2.
In some respects the true popularity, as expressed by ratings, was hidden by the way the system was operating at the time. However, as BBC and lTV geared up their production bases, as the initial public excitement of seeing American programmes waned and as lTV and the BBC, post-Pilkington, moved into a new relationship, often referred to as the duopoly, offering a mix of serious and popular domestic productions, the prominence of American programmes declined. It must, however, be noted that while the histories about this period mention the popularity of American programmes and the success Re-evaluating British Television History 4S reflected in the rating charts for both the BBC and lTV, they do not suggest that British television was Americanised.