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Buddy Buddy (Original screenplay for the 1981 film)

Buddy Buddy (Original screenplay for the 1981 film)

Wilder, Billy (director, screenwriter); Francis Veber (playwright); I.A.L. Diamond (screenwriter); Jack Lemmon, Walter Matthau, Paula Prentiss, Klaus Kinski (starring) Shooting Script for the 1981 film, director Wilder's final work. Laid in is a vintage studio still photograph featuring Jack Lemmon and Paula Prentiss. Based on a play by French playwright Francis Veber, and on the 1973 French-Italian film, "L'emmerdeur." A professional killer going by the name of Trabucco (Matthau) on his way to "take care of" a gangster, bumps into a forlorn man named Victor Clooney (Lemmon). Clooney's wife has left him for the head of a sex clinic, Dr. Zuckerbrot (Kinski). Trabucco sets up his rifle in a hotel room, ready to make the hit, but is interrupted by Clooney trying to hang himself in the adjoining room. Trabucco briefly stops Clooney from hanging, but he gets away and climbs onto the ledge of the hotel window. When Victor finds out that his wife is filing for divorce, he again attempts suicide, the doctor and his wife following. They try to stop Victor with a sedative but stick Trabucco with the needle instead. The two men are left hopeless but Victor promises to help Trabucco with his hit. Set in Banning, California, shot on location in Hawaii and Riverside, California. Light blue titled wrappers, noted as Shooting Script on the front wrapper, dated October 19, 1981, with credits for director-writer Wilder, writer Diamond, and producers Bernheim and Weston. Title page present with credits for screenwriters Wilder and Diamond, and for writer Veber. 97 leaves, mechanically reproduced. Pages Fine, wrapper Fine, bound with two gold brads. Photo Near Fine.
The Celluloid Paper Trail: Identification and Description of Twentieth Century Film Scripts (First Edition)

The Celluloid Paper Trail: Identification and Description of Twentieth Century Film Scripts (First Edition)

Johnson, Kevin R. (author); Tony Bill (foreword) First Edition. Hardcover, illustrated boards. "The Celluloid Paper Trail: Identification and Description of Twentieth Century Film Scripts" is the first book ever published on film script identification and description. Lavishly illustrated and detailed, designed for any book scholar, including collectors, archivists, librarians, and dealers. Foreword by Tony Bill, Academy Award-winning producer, director, and actor. Illustrated in color with over 130 examples of scripts of films in every genre. With an index that references proper terminology located throughout the book. The film script is an example of rare book that defies nearly every norm. It is issued, not published, and rather than having the properties of a traditional first edition, a given script is instead one of many drafts that fit within the development and production of a motion picture. Adding to its complexity is the fact that methods and styles of issuance and printing changed considerably over the course of the 20th century. "The Celluloid Paper Trail" is the first book published specifically to aid scholars in the identification and description of the 20th century film script. Visually sumptuous, methodical, detailed, and entertaining, this study is designed to help the rare book scholar ask questions, identify, and comprehend both the content, construction, and history of American and British film scripts. Scripts considered in the book range from the 1920s to the 1980s, the period during which the art of cinema was birthed, developed, and perfected. Topics covered in the book: Overview of the filmmaking process as it relates to script development. Script identification with respect to the different roles of cast and crew. Bindings, printing, duplication, and identification of later reproductions. Understanding various technical annotations made in scripts. Understanding scripts from historical and thematic perspectives. Detailed breakdown of a sample script, using various reference tools. Sample visual history of scripts, with dozens of examples. Purple Illustrated paper covered boards, titles in gilt, no dust jacket as issued. 232 pages. 8.5 x 11 inches.
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Rachel, Rachel [A Jest of God] (Original screenplay for the 1968 film, camera operator’s copy)

Newman, Paul (director); Margaret Laurence (novel); Stewart Stern (screenwriter); Joanne Woodward, James Olson, Kate Harrington, Estelle Parsons (starring) Revised Final Draft script for the 1968 film, "Rachel, Rachel," here under the working title and source novel title, "A Jest of God." Copy belonging to uncredited camera operator, Ron Munkacsi, with his name in holograph ink on a laid-in shooting schedule, and on a letter addressed to him by associate producer Harrison Starr, who thanks him for his work during the summer of 1967 and includes a newspaper clipping crediting Munkacsi, typed on Kayos Productions stationary, and signed in holograph ink by Starr. Also present are "Cast Call" and "Memo" leaves dated 1967. Based on Canadian writer Margaret Laurence's 1966 novel. Rachel Cameron (Joanne Woodward) is timid spinster teacher living with her widowed mother in an apartment in rural Connecticut. She is persuaded by an ambiguously lesbian friend Calla (Estelle Parsons) to attend a church revival, where she is comforted and softly kissed by Calla to ease the overwhelming presence of God that Rachel has invoked. She withdraws from her relationship with Calla about the time she reunites with an old friend and fellow teacher, Nick (James Olson), visiting from the Bronx. With Nick, Rachel has her first sexual experience (she's in her thirties), and mistakes their lusty episode for devoted love, until Nick presents a fake photo showing his supposed wife and child. Rachel leaves for Oregon, where she believes herself to be pregnant with Nick's child only to find her "pregnancy" is the result of a benign cyst. She reunites with her mother, and seeks a new life with newly discovered sexual interests. The film won several awards, including four Academy Award nominations, two Golden Globes, and a National Board of Review Award. Shot on location throughout Connecticut. Green titled wrappers. Title page present, dated June 28, 1967, noted as Final Draft, with credits for screenwriter Stern. 131 leaves, with last page of text numbered 122. Mimeograph on white stock, rectos only, rainbow copy with blue, pink, and yellow revision pages throughout, dated 7/14/67 on blue pages and 7/25/67 on pink pages. Pages Near Fine, wrapper Very Good plus, bound with two gold brads. Shooting Schedule 13 leaves corner-stitched, casting call 2 leaves unbound, memo 2 leaves corner-stitched, and letter 1 leaf unbound. Shooting Schedule, casting call, memo, and letter Very Good plus overall.
Archive of 16 photographs featuring rock performers

Archive of 16 photographs featuring rock performers, circa 1960s-1970s

Marshall, Jim (photographer); Bob Dylan, The Rolling Stones, The Who, Bob Dylan, Joni Mitchell, Sly and the Family Stone, Santana, Jim Morrison, Tina Turner, The Allman Brothers Band (subjects) Archive of 16 photographs (seven double weight and ten single weight) of rock performers, circa the late 1960s and early 1970s. Struck by photographer Jim Marshall circa 1990s, most with his stamp and holograph identification number on the verso. Artists represented include Bob Dylan, The Rolling Stones, The Who, Bob Dylan, Joni Mitchell, Sly and the Family Stone, Santana, Jim Morrison, Tina Turner, The Allman Brothers Band (including standalone shots of Duane Allman), and others. The Santana photos are especially notable, as the band, already a live sensation, is performing at Woodstock, just ahead of the release their first album. As a photographer for both record labels and magazines such as "Rolling Stone," Jim Marshall was one of the most prolific and influential chronicles of rock music during the 1960s and 1970s. Among his most iconic photographs are images of Jimi Hendrix setting his guitar on fire at Monterey Pop, Johnny Cash performing at San Quentin, and The Beatles backstage at their final live concert at Candlestick Park. In 2014, he was posthumously awarded a Lifetime Achievement Grammy, the only photographer to be so honored. Photographs variously 5 x 7 inches (13 x 18 cm) and 8 x 10 inches. (20 x 25 cm). Fine overall. For details please inquire.
The Lawless Years (Collection of 14 original photographs from the 1959-1961 television series)

The Lawless Years (Collection of 14 original photographs from the 1959-1961 television series)

Miner, Allen H., and James Gregory (directors); Barney Ruditsky, George Bruce, Jo Eisinger (screenwriters); James Gregory, Robert Karnes, John Dennis (starring) Collection of 14 vintage black-and-white studio still photographs from the 1959-1961 television series, "The Lawless Years." All photos are promotional portraits of the starring Gregory, looking dashing, smoking a cigarette in two stills and a pipe in two more. Two stills with brief ditto-style descriptions printed on the versos, two with cropping notations in holograph color pencil on the rectos, and nearly all with brief notations (Gregory's name, date) in holograph ink and pencil on the versos. One image from the set is shown. Please inquire for others. Gregory stars as Ruditsky, a police officer who fights the Mob in the 1920s. The series ran for 3 seasons, 47 episodes, and was nominated for a Primetime Emmy Award in 1960. Based on the real-life Ruditsky, a detective and later private investigator who helped dismantle organized crime, including the breakup of prominent Mafia organizations, like Murder Incorporated. Gregory was a regular "tough guy" in many of his roles, in and out of crime and military television series, and notable credits include "The Manchurian Candidate" (1962) and "Beneath the Planet of the Apes" (1970). 7 x 9 inches (17.5 x 22.75 cm) and 8 x 10 inches (20.5 x 25.5 cm), small white borders. Very Good plus overall, most with staple holes in one corner, light curling and toning, a few marginal creases, one still with a tiny tape ghost.