11,049 results
1984ref. 168321N.p.: N.p. 1984. Draft script for an unproduced film. With the resume of screenwriter Shelley Berc bound in before the title page at the front of the script. An adaptation of an experimental stage play also written by Berc a musical about a New York fireman. Title page present copyright date noted as 1984 with credit for Berc. 56 leaves with last page of text numbered 52. Xerographic duplication rectos only. Pages Very Good plus partially bound with a single paper clip at the top left corner. N.p. unknown books
1977ref. 164245N.p.: N.p. 1977. Seven vintage borderless reference photographs from the 1977 film. Provenance stamps on the versos. Director Robert Altman's experimental dreamlike masterwork about three ethereal fractured women originally overlooked but later celebrated. Featuring brilliant performances from Shelley Duvall as the self-deluded socially maladroit Millie Rule as the mysterious pregnant painter Willie and Sissy Spacek as the young timid and fawning Pinky. Nominated for the Palme d'Or. Set in a small California desert town and shot on location in Palm Springs Thousand Palms and Desert Hot Springs California. 9.5 x 7 inches. About Fine. N.p. unknown
1977ref. 166688N.p.: N.p. 1977. Ten vintage borderless reference photographs from the 1977 film. Annotations in manuscript pencil and ink on the versos. Director Robert Altman's experimental dreamlike masterwork about three ethereal fractured women originally overlooked but later celebrated. Featuring brilliant performances from Shelley Duvall as the self-deluded socially maladroit Millie Janice Rule as the mysterious pregnant painter Willie and Sissy Spacek as the young timid and fawning Pinky. Nominated for the Palme d'Or. Set in a small California desert town and shot on location in Palm Springs Thousand Palms and Desert Hot Springs California. 10 x 8 inches three with wide bottom margins. Near Fine. Criterion Collection 230. Ebert III. N.p. unknown
1974ref. 169566Beverly Hills CA: United Artists 1974. Vintage borderless reference photograph from the 1974 film showing Shelley Duvall holding a baby kitten. French release stamp and layout annotations in manuscript ink on the verso. Based on the 1937 novel by Edward Anderson previously adapted by Nicholas Ray as "They Live by Night" 1950. One of Altman's many high spots during the 1970s an early and unusual entry in the American neo-noir canon and one of the most artful gangster films made. Set and shot on location in various towns and cities in central and southern Mississippi including Jackson Hermanville Pickens and Canton. 8 x 10 inches. Near Fine. Spicer US Neo-Noir. United Artists unknown
1974ref. 169566Beverly Hills CA: United Artists 1974. Vintage borderless reference photograph from the 1974 film showing Shelley Duvall holding a baby kitten. French release stamp and layout annotations in manuscript ink on the verso. Based on the 1937 novel by Edward Anderson previously adapted by Nicholas Ray as "They Live by Night" 1950. One of Altman's many high spots during the 1970s an early and unusual entry in the American neo-noir canon and one of the most artful gangster films made. Set and shot on location in various towns and cities in central and southern Mississippi including Jackson Hermanville Pickens and Canton. 8 x 10 inches. Near Fine. Spicer US Neo-Noir. United Artists unknown books
1977ref. 164245N.p.: N.p. 1977. Seven vintage borderless reference photographs from the 1977 film. Provenance stamps on the versos. Director Robert Altman's experimental dreamlike masterwork about three ethereal fractured women originally overlooked but later celebrated. Featuring brilliant performances from Shelley Duvall as the self-deluded socially maladroit Millie Rule as the mysterious pregnant painter Willie and Sissy Spacek as the young timid and fawning Pinky. Nominated for the Palme d'Or. Set in a small California desert town and shot on location in Palm Springs Thousand Palms and Desert Hot Springs California. 9.5 x 7 inches. About Fine. N.p. unknown books
1977ref. 166688N.p.: N.p. 1977. Ten vintage borderless reference photographs from the 1977 film. Annotations in manuscript pencil and ink on the versos. Director Robert Altman's experimental dreamlike masterwork about three ethereal fractured women originally overlooked but later celebrated. Featuring brilliant performances from Shelley Duvall as the self-deluded socially maladroit Millie Janice Rule as the mysterious pregnant painter Willie and Sissy Spacek as the young timid and fawning Pinky. Nominated for the Palme d'Or. Set in a small California desert town and shot on location in Palm Springs Thousand Palms and Desert Hot Springs California. 10 x 8 inches three with wide bottom margins. Near Fine. Criterion Collection 230. Ebert III. N.p. unknown books
1989ref. 163938Santa Monica CA: Braunstein / Hamady Productions 1989. Draft script for the 1990 film. From the archive of crew member Chris Scher. Based on the 1989 novel by Sarah Bird. With the help of his sister a cancer survivor pretends to be someone he is not to get a woman to fall in love with him. Shot on location in Charleston South Carolina. Chris Scher has worked in American films from 1994 to the present. She was a propmaker construction accountant/estimator/buyer and carpenter on over 20 movies including "The Last Seduction" 1994 "Pulp Fiction" 1994 "From Dusk Till Dawn" 1994 "The Horse Whisperer 1998 "Joy Ride" 2001 and others. She also performed the same work for prestige television dramas including "The Bridge" 2014 "Ozark" 2017 and "Yellowstone" 2018. Yellow titled self wrappers lacking rear wrapper noted as Rev. on the front wrapper dated 5/29/89 with credits for screenwriter and novelist Sarah Bird. Title page integral with front wrapper. 106 leaves with last page of text numbered 107. Xerographic duplication rectos only internally duplicated with copied annotations with pink and yellow revision pages throughout dated variously between 5/24/89 and 5/29/89. Pages Near Fine wrapper Very Good plus bound with two gold brads. Braunstein / Hamady Productions unknown
1989ref. 163938Santa Monica CA: Braunstein / Hamady Productions 1989. Draft script for the 1990 film. From the archive of crew member Chris Scher. Based on the 1989 novel by Sarah Bird. With the help of his sister a cancer survivor pretends to be someone he is not to get a woman to fall in love with him. Shot on location in Charleston South Carolina. Chris Scher has worked in American films from 1994 to the present. She was a propmaker construction accountant/estimator/buyer and carpenter on over 20 movies including "The Last Seduction" 1994 "Pulp Fiction" 1994 "From Dusk Till Dawn" 1994 "The Horse Whisperer 1998 "Joy Ride" 2001 and others. She also performed the same work for prestige television dramas including "The Bridge" 2014 "Ozark" 2017 and "Yellowstone" 2018. Yellow titled self wrappers lacking rear wrapper noted as Rev. on the front wrapper dated 5/29/89 with credits for screenwriter and novelist Sarah Bird. Title page integral with front wrapper. 106 leaves with last page of text numbered 107. Xerographic duplication rectos only internally duplicated with copied annotations with pink and yellow revision pages throughout dated variously between 5/24/89 and 5/29/89. Pages Near Fine wrapper Very Good plus bound with two gold brads. Braunstein / Hamady Productions unknown books
1949ref. 164628Universal City: Universal-International 1949. Vintage studio still publicity photograph from the 1949 film noir showing actress Shelly Winters in a glittering strapless gown. A college professor is the key suspect in the disappearance and presumed murder of his ex-girlfriend and must work to exonerate himself and untangle the mystery. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1 1901 Jones worked for Paramount Pictures in the early 1930s and went on to be the head of the still photography department at Universal Pictures in 1935 where he worked well into the 1950s. 10 x 8 inches. Very Good plus. Grant US. Selby US Masterwork. Spicer US. Universal-International unknown books
1970ref. 137695Los Angeles: Grenadier Productions 1970. Draft script for an unproduced film called "The Man Who Was Alive and Well" written by Shimon Wincelberg produced for circulation at Grenadier Productions in Los Angeles for purposes of script development. Wincelberg's notable film credits include "Fighter Attack" 1953 "The Legend of Custer" 1968 and "Cold Sweat" 1970 as well as several television series episodes. Set in 1960s South America where Peter an apparent fugitive meets a young Indian woman named Felisa and the two fall in love and bear a child. Yellow titled wrappers. Title page present undated with a credit for screenwriter Wincelberg. 137 leaves with last page of text numbered 136. Mechanical duplication. Pages and wrapper Near Fine bound with three gold brads. Grenadier Productions unknown
1970ref. 137695Los Angeles: Grenadier Productions 1970. Draft script for an unproduced film called "The Man Who Was Alive and Well" written by Shimon Wincelberg produced for circulation at Grenadier Productions in Los Angeles for purposes of script development. Wincelberg's notable film credits include "Fighter Attack" 1953 "The Legend of Custer" 1968 and "Cold Sweat" 1970 as well as several television series episodes. Set in 1960s South America where Peter an apparent fugitive meets a young Indian woman named Felisa and the two fall in love and bear a child. Yellow titled wrappers. Title page present undated with a credit for screenwriter Wincelberg. 137 leaves with last page of text numbered 136. Mechanical duplication. Pages and wrapper Near Fine bound with three gold brads. Grenadier Productions unknown books
1963ref. 148665Denver CO: Wiseman Film Productions 1963. Vintage reference photograph from the seminal 1963 film. Based on the 1960 play by Warren Miller and Robert Rossen in turn based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke following "The Connection" 1961. Both films were statements on the limitations of cinema verite and while appearing improvisational were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman who would go on to become a legendary documentary filmmaker and was scored by noted jazz composer and pianist Mal Waldron with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 10 x 8 inches. Near Fine with light toning to the border. National Film Registry. Wiseman Film Productions unknown
1963ref. 170477N.p.: Cinema V. 1963. Two vintage reference photographs from the 1963 film both showing actor Hampton Clanton. Printed mimeo snipes and date stamps on the versos. Based on the 1960 play by Warren Miller and Robert Rossen which was based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke following "The Connection" 1961. Both films were statements on the limitations of cinema verite and while appearing improvisational were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman who would go on to become a legendary documentary filmmaker and was scored by noted jazz composer and pianist Mal Waldron with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 8 x 10 inches. Very Good plus. National Film Registry. Cinema V. unknown
1963ref. 170476N.p.: Cinema V. 1963. Eight vintage studio still photographs from the 1963 film. Provenance labels on the versos. Based on the 1960 play by Warren Miller and Robert Rossen which was based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke following "The Connection" 1961. Both films were statements on the limitations of cinema verite and while appearing improvisational were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman who would go on to become a legendary documentary filmmaker and was scored by noted jazz composer and pianist Mal Waldron with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 10 x 8 inches. Very Good plus to Near Fine. National Film Registry. Cinema V. unknown
1963ref. 151321N.p.: N.p. 1963. Vintage reference photograph from the seminal 1963 film. Partial label on the verso. Based on the 1960 play by Warren Miller and Robert Rossen which was based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke following "The Connection" 1961. Both films were statements on the limitations of cinema verite and while appearing improvisational were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman who would go on to become a legendary documentary filmmaker and was scored by noted jazz composer and pianist Mal Waldron with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 5 x 8 inches trimmed irregularly with wide margins photograph measuring 3.75 x 4.75 inches. Near Fine. National Film Registry. N.p. unknown
1963ref. 170476N.p.: Cinema V. 1963. Eight vintage studio still photographs from the 1963 film. Provenance labels on the versos. Based on the 1960 play by Warren Miller and Robert Rossen which was based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke following "The Connection" 1961. Both films were statements on the limitations of cinema verite and while appearing improvisational were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman who would go on to become a legendary documentary filmmaker and was scored by noted jazz composer and pianist Mal Waldron with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 10 x 8 inches. Very Good plus to Near Fine. National Film Registry. Cinema V. unknown books
1963ref. 148665Denver CO: Wiseman Film Productions 1963. Vintage reference photograph from the seminal 1963 film. Based on the 1960 play by Warren Miller and Robert Rossen in turn based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke following "The Connection" 1961. Both films were statements on the limitations of cinema verite and while appearing improvisational were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman who would go on to become a legendary documentary filmmaker and was scored by noted jazz composer and pianist Mal Waldron with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 10 x 8 inches. Near Fine with light toning to the border. National Film Registry. Wiseman Film Productions unknown books
1963ref. 151321N.p.: N.p. 1963. Vintage reference photograph from the seminal 1963 film. Partial label on the verso. Based on the 1960 play by Warren Miller and Robert Rossen which was based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke following "The Connection" 1961. Both films were statements on the limitations of cinema verite and while appearing improvisational were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman who would go on to become a legendary documentary filmmaker and was scored by noted jazz composer and pianist Mal Waldron with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 5 x 8 inches trimmed irregularly with wide margins photograph measuring 3.75 x 4.75 inches. Near Fine. National Film Registry. N.p. unknown books
1963ref. 170477N.p.: Cinema V. 1963. Two vintage reference photographs from the 1963 film both showing actor Hampton Clanton. Printed mimeo snipes and date stamps on the versos. Based on the 1960 play by Warren Miller and Robert Rossen which was based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke following "The Connection" 1961. Both films were statements on the limitations of cinema verite and while appearing improvisational were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman who would go on to become a legendary documentary filmmaker and was scored by noted jazz composer and pianist Mal Waldron with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 8 x 10 inches. Very Good plus. National Film Registry. Cinema V. unknown books
1963ref. 151276N.p.: N.p. 1963. Vintage reference photograph of director Robert Wise and actress Julie Harris on the set of the 1963 film. With manuscript ink annotations on the verso. From the archive of film historian and author Joel Finler. Based on Shirley Jackson's 1959 novel "The Haunting of Hill House." A group of disparate individuals are invited to a purportedly haunted house by a paramormal investigator. Set in Massachusetts shot on location in Ettington Park in Warwickshire UK. 8 x 10 inches. Very Good plus. Scorsese The Dark Eleven. Spicer US. N.p. unknown
1963ref. 151276N.p.: N.p. 1963. Vintage reference photograph of director Robert Wise and actress Julie Harris on the set of the 1963 film. With manuscript ink annotations on the verso. From the archive of film historian and author Joel Finler. Based on Shirley Jackson's 1959 novel "The Haunting of Hill House." A group of disparate individuals are invited to a purportedly haunted house by a paramormal investigator. Set in Massachusetts shot on location in Ettington Park in Warwickshire UK. 8 x 10 inches. Very Good plus. Scorsese The Dark Eleven. Spicer US. N.p. unknown books
1965ref. 132061Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1965. Eight vintage full-color still British front-of-house cards from the 1965 film. Something of an antecedent to Hal Ashby's "Being There" 1981 in which a bumbling idiot inherits a fortune and becomes a high-ranking government official 8 x 10 inches. Faint creases to most else Near Fine. Metro-Goldwyn-Mayer [MGM] unknown books
1949ref. 157066Burbank CA: Warner Brothers 1949. Second Revised Temporary script for the 1949 film seen here under the working title "Always Sweethearts." An Irish horse trainer and his niece take a liking to a young Kentucky thoroughbred named Seabiscuit deciding to convince the horse's owner to let them train the horse for races. A loosely fictionalized account of prizewinning racehorse Seabiscuit incorporating black-and-white footage of Seabiscuit in several races including the 1940 Santa Anita Handicap and the 1938 race against War Admiral. Set in Kentucky shot on location in Los Angeles and Arcadia. Beige titled wrappers noted as 2nd Rev. Temp. on the front wrapper dated Feb. 28 1949. Distribution page present with receipt removed. Title page present undated with credits for screenwriter John Taintor Foote. 136 leaves with last page of text numbered 132. Mimeograph duplication on yellow stock rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. Warner Brothers unknown
1949ref. 157066Burbank CA: Warner Brothers 1949. Second Revised Temporary script for the 1949 film seen here under the working title "Always Sweethearts." An Irish horse trainer and his niece take a liking to a young Kentucky thoroughbred named Seabiscuit deciding to convince the horse's owner to let them train the horse for races. A loosely fictionalized account of prizewinning racehorse Seabiscuit incorporating black-and-white footage of Seabiscuit in several races including the 1940 Santa Anita Handicap and the 1938 race against War Admiral. Set in Kentucky shot on location in Los Angeles and Arcadia. Beige titled wrappers noted as 2nd Rev. Temp. on the front wrapper dated Feb. 28 1949. Distribution page present with receipt removed. Title page present undated with credits for screenwriter John Taintor Foote. 136 leaves with last page of text numbered 132. Mimeograph duplication on yellow stock rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. Warner Brothers unknown books
