Market restaurant,
118
Matrix, The
,
12
,
147
structure of,
147
,
148
–51
Mexican restaurants,
132
–33
MGM, parking at,
58
Mirren, Helen,
10
,
124
,
174
Morgan, Tracy,
142
–43
movies:
animated,
25
,
77
,
155
,
187
art-house,
xi
–xii,
151
,
152
,
167
box-office receipts of,
xii
,
39
,
54
,
77
n
,
90
,
98
–99,
100
,
103
,
115
,
161
,
167
,
193
,
199
,
211
budgets of,
103
–4
casting of,
54
,
62
,
112
,
117
,
185
,
188
–89,
296
cost of,
39
,
54
,
84
,
86
,
102
,
103
–4,
111
–12,
180
–81,
211
critics of,
114
–15,
192
entertainment value of,
11
–13,
161
–62
failure of,
32
,
37
,
85
,
116
–19
free ideas for,
xii
–xiii,
19
,
27
–28,
72
,
80
–81,
127
,
142
–43,
164
–65
independent,
3
,
12
,
13
,
30
,
148
international appeal of,
103
“kids’,”
94
long speeches in,
40
poor quality of,
35
,
36
,
59
,
62
–68,
96
,
129
,
180
ratings of,
53
,
211
–12
scrapped,
101
–7
structure of,
147
–52,
168
successful kinds of,
13
,
18
,
169
target audience of,
53
,
106
,
111
test screenings of,
85
–86,
117
3
-D,
106
,
297
movie stars,
4
,
13
,
18
–19,
50
,
54
,
59
,
62
,
171
,
188
–92
actors and celebrities vs.,
188
–89
appropriate treatment of,
190
,
191
–92
attached contemplative,
105
bars frequented by,
134
Buddhist,
191
–92
cold readings by,
102
–3
directors approved by,
190
earnings of,
189
,
190
in marketing,
111
notes of,
185
,
190
–92
production rewrites and,
184
,
185
,
189
–92
movie theaters,
103
,
111
municipal bonds, short-term,
197
Naceri, Samy,
117
“Narration Written by” credit,
126
–27
negotiating deals,
6
–7,
30
–35,
192
one-step,
36
Neptune’s Net,
134
–35
New Line Cinema,
98
–99
Newsroom Cafe,
70
New York, N.Y.,
5
,
23
,
69
,
116
Greenwich Village,
xi–xii
,
3
Writers Guild of America, East, in,
24
,
25
Night at the Museum
,
115
,
118
,
161
,
199
,
277
notes,
35
,
36
–37,
39
,
49
,
71
–79,
75
,
186
bad,
65
–67,
72
,
73
–74
good,
65
,
72
,
73
,
74
gracious response to,
71
,
72
,
73
,
73
,
96
–97
harmless incorporation of,
72
,
73
–74,
96
,
192
of movie stars,
185
,
190
–92
nodding in response to,
72
payment for,
71
of producers,
75
–76,
75
,
97
producer’s draft,
17
of studio heads,
72
,
77
–79,
95
writing down,
72
notes meetings,
71
–73,
77
–79
with movie stars,
190
–92
One and Only Palmilla,
136
–37
one-step deals,
36
Oswalt, Patton,
186
outlines,
166
–69,
176
outlines, sample,
168
,
211
–91
Instant Monsters
,
211
,
275
–92
Reno S.O.S.!
,
211
–12,
213
–59
Scouts’ Honor
,
211
,
261
–73
Overture Films,
67
Pacifier, The
,
ix–x
,
12
,
99
,
121
–22
Paramount,
36
,
67
,
109
parking at,
56
parking, studio,
55
–58
“Patience” (Guns N’ Roses),
85
Paul Blart: Mall Cop
,
100
percentage of the profits,
33
,
83
,
91
,
193
personal assistants,
9
Pink’s Hot Dogs,
51
pitching,
18
–23,
98
–100,
107
,
180
–81,
185
of book rights,
202
–3
dressing for,
ix
,
19
,
19
drunkenness and,
22
–23
guidelines for,
19
–21
to Jackie Chan,
121
–22
as performance,
20
,
23
of rewrites,
182
–83
to studio heads,
30
,
94
–95,
96
,
97
polish,
49
,
190
optional,
36
postproduction,
88
,
89
,
299
Principato, Peter,
8
producers,
7
,
33
,
35
,
50
,
71
,
89
–91,
96
,
117
–18,
202
,
295
,
296
notes of,
75
–76,
75
,
97
profits percentage of,
91
producer’s draft,
71
production companies,
67
,
296
production rewrites,
183
–87,
190
ADR jokes in,
187
movie stars and,
184
,
185
,
189
–92
payment for,
185
,
186
punch-ups,
4
,
161
,
185
reasons for,
184
–85
roundtables,
4
,
186
product placement,
111
–12
pseudonyms,
129
punch-ups,
4
,
161
,
185
Queen Latifah,
x
,
116
–19
quotes,
6
,
30
–32,
94
–95
definition of,
30
ratings,
53
,
211
–12
readers, script,
51
–54
remakes,
34
,
77
–79,
99
,
116
–19
Reno 911!
,
108
–9,
211
,
212
Reno 911!: Miami
,
211
–12
Reno S.O.S.!
outline,
211
–12,
213
–59
representation,
see
agents and managers
reshoots,
186
residuals,
24
,
25
,
124
,
125
,
196
rewrites,
4
,
9
–10,
30
,
35
,
37
,
87
,
104
,
161
,
180
–87,
196
advantages of,
183
payment for,
183
,
185
,
186
pitching of,
182
–83
process of,
181
–83
of unsold script,
14
,
16
see also
production rewrites
Robinson, Craig,
164
–65,
280
Roosevelt, Teddy,
114
–15
roundtables,
4
,
186
royalties,
61
,
124
,
193
–94,
196
Rush Hour II
,
121
Sandler, Adam,
20
,
80
–81,
100
Scouts’ Honor
outline,
211
,
261
–73
“Screenplay by” credit,
124
,
125
,
127
screenplays:
entertainment value of,
11
–13
minimum payments for,
31
,
34
published,
39
retaining separated rights to,
33
–34,
127
,
128
“stories that need to be told” vs.,
11
–12
WGA definition of,
125
see also
scripts
screenplay writing:
action scenes in,
172
–73
