11,046 results
1950ref. 159041Los Angeles: RKO Radio Pictures 1950. Vintage studio still photograph from the 1950 film noir. A young recently engaged woman is raped by a man working at her job. She tries to run away from her life but cannot outrun her trauma. Shot on location in Marysville California. 8 x 10 inches. Very Good with a small chip missing at the bottom right corner. Godard Histoires du cinema. Scorsese A Personal Journey Through American Movies. Selby US. Spicer US. Grant US. RKO Radio Pictures unknown books
1950ref. 159041Los Angeles: RKO Radio Pictures 1950. Vintage studio still photograph from the 1950 film noir. A young recently engaged woman is raped by a man working at her job. She tries to run away from her life but cannot outrun her trauma. Shot on location in Marysville California. 8 x 10 inches. Very Good with a small chip missing at the bottom right corner. Godard Histoires du cinema. Scorsese A Personal Journey Through American Movies. Selby US. Spicer US. Grant US. RKO Radio Pictures unknown
1964ref. 149498Los Angeles: American International Pictures AIP 1964. Vintage reference photograph from the 1964 film showing noted science fiction author Forrest J. Ackerman who makes a cameo appearance in the film in costume as a space technician. With the stamps of Israel Film Archive on the verso. A team of scientists create a time traveling device which teleports them to Earth in the year 2071 where mutated humans are the norm as a result of nuclear war. Shot on location in Barstow California with some scenes at the University of Southern California's Doheny Library and Mudd Hall. 10 x 8 inches. Very Good plus overall. American International Pictures [AIP] unknown books
1964ref. 167585N.p.: N.p. 1964. Vintage reference photograph from the 1964 film showing a futuristic fight sequence. A team of scientists create a teleportation device and travel forward in time to the year 2071 where mutated humans are the norm as a result of nuclear war. Basis for the 1966-1967 television series "The Time Tunnel" as well as the 1967 remake "Journey to the Center of Time." Shot on location in Barstow California with some scenes at the University of Southern California's Doheny Library and Mudd Hall. 10 x 8 inches. About Fine. N.p. unknown books
1960ref. 167583Los Angeles: American International Pictures AIP 1960. Vintage studio still photograph from the 1959 film showing astronauts on the surface of Mars. Annotation in manuscript ink on the verso. Members of the first crewed expedition to Mars discovers carnivorous amoeba enormous monsters and other horrors. The film's low budget and nine-day shooting schedule required the use of CineMagic a processing technique that merged animation with live-action footage. 10 x 8 inches. Very Good. American International Pictures [AIP] unknown books
1964ref. 167585N.p.: N.p. 1964. Vintage reference photograph from the 1964 film showing a futuristic fight sequence. A team of scientists create a teleportation device and travel forward in time to the year 2071 where mutated humans are the norm as a result of nuclear war. Basis for the 1966-1967 television series "The Time Tunnel" as well as the 1967 remake "Journey to the Center of Time." Shot on location in Barstow California with some scenes at the University of Southern California's Doheny Library and Mudd Hall. 10 x 8 inches. About Fine. N.p. unknown
1964ref. 149498Los Angeles: American International Pictures AIP 1964. Vintage reference photograph from the 1964 film showing noted science fiction author Forrest J. Ackerman who makes a cameo appearance in the film in costume as a space technician. With the stamps of Israel Film Archive on the verso. A team of scientists create a time traveling device which teleports them to Earth in the year 2071 where mutated humans are the norm as a result of nuclear war. Shot on location in Barstow California with some scenes at the University of Southern California's Doheny Library and Mudd Hall. 10 x 8 inches. Very Good plus overall. American International Pictures [AIP] unknown
2000ref. 151199Iver Heath UK: Pinewood Studios 2000. Sixth Draft script for the 2002 film. A recently widowed woman is bullied by her son and his wife to enter a nursing home where she soon begins to crave independence and a new start to her life. Shot on location in Berkshire England. Light blue untitled wrappers. Title page present dated 15th September 2000 noted as 6th Draft with credits for screenwriter Malcolm Stone and novelist Vernon Coleman. 98 leaves with last page of text numbered 97. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus overall with rust to the binding bound internally with a silver prong. Pinewood Studios unknown books
2000ref. 151199Iver Heath UK: Pinewood Studios 2000. Sixth Draft script for the 2002 film. A recently widowed woman is bullied by her son and his wife to enter a nursing home where she soon begins to crave independence and a new start to her life. Shot on location in Berkshire England. Light blue untitled wrappers. Title page present dated 15th September 2000 noted as 6th Draft with credits for screenwriter Malcolm Stone and novelist Vernon Coleman. 98 leaves with last page of text numbered 97. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus overall with rust to the binding bound internally with a silver prong. Pinewood Studios unknown
1968ref. 141636N.p.: Aspen 1968. Final Draft script for an unproduced film. A man is unwillingly drawn into a debate around morality and death as he is questioned by the police following his best friend's suicide. Dark green wrappers with British-style die-cut window. Title page present dated July 23 1968 noted as FINAL DRAFT with credits for screenwriter Ian McLellan Hunter. 124 leaves with last page of text numbered 122. Mechanical duplication with white and blue revision pages throughout dated variously between June 17 1968 and July 23 1968. Pages Near Fine wrapper Very Good plus bound internally with three gold brads. Aspen unknown books
1968ref. 141636N.p.: Aspen 1968. Final Draft script for an unproduced film. A man is unwillingly drawn into a debate around morality and death as he is questioned by the police following his best friend's suicide. Dark green wrappers with British-style die-cut window. Title page present dated July 23 1968 noted as FINAL DRAFT with credits for screenwriter Ian McLellan Hunter. 124 leaves with last page of text numbered 122. Mechanical duplication with white and blue revision pages throughout dated variously between June 17 1968 and July 23 1968. Pages Near Fine wrapper Very Good plus bound internally with three gold brads. Aspen unknown
1991ref. 164025Los Angeles: The Blackport Company 1991. Draft script for the 1993 film. From the archive of crew member Chris Scher. Following the death of his mother a twelve-year-old is sent to stay with his extended family in Maine. There he begins to suspect his cousin Henry outwardly a normal kind young boy of being a sociopath. An unusually eerie performance by Macaulay Culkin then at the peak of his career as a child actor after "Home Alone" 1990 and "My Girl" 1991 playing against type as the violent Henry. 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. Set in Maine shot on location in Cape Ann Massachusetts Two Harbors Minnesota and Las Vegas Nevada. Gray untitled wrappers. Title page present dated July 29 1991. 116 leaves with last page of text numbered 115. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. The Blackport Company unknown books
1991ref. 164025Los Angeles: The Blackport Company 1991. Draft script for the 1993 film. From the archive of crew member Chris Scher. Following the death of his mother a twelve-year-old is sent to stay with his extended family in Maine. There he begins to suspect his cousin Henry outwardly a normal kind young boy of being a sociopath. An unusually eerie performance by Macaulay Culkin then at the peak of his career as a child actor after "Home Alone" 1990 and "My Girl" 1991 playing against type as the violent Henry. 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. Set in Maine shot on location in Cape Ann Massachusetts Two Harbors Minnesota and Las Vegas Nevada. Gray untitled wrappers. Title page present dated July 29 1991. 116 leaves with last page of text numbered 115. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. The Blackport Company unknown
1972ref. 147379London: K.L.K. Films 1972. Draft script for an unproduced film Ian La Frenais' adaptation of Nicholas Luard's 1967 novel a political thriller. From the estate of film producer Elliott Kastner whose best known credits include "The Long Goodbye" Robert Altman 1973 "The Missouri Breaks" Arthur Penn 1976 and "Heat" Michael Mann 1996. Down on his luck news photographer Sear is offered a large payment to cover the secret exodus of 10000 Hungarian refugees across the border and finds himself embroiled in a game of international espionage. Blue untitled wrappers with die-cut title window in the British style. Title page present February 1972 with credits for screenwriter Ian La Frenais. 109 leaves with last page of text numbered 107. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with two flat metal brads. K.L.K. Films unknown books
1972ref. 147379London: K.L.K. Films 1972. Draft script for an unproduced film Ian La Frenais' adaptation of Nicholas Luard's 1967 novel a political thriller. From the estate of film producer Elliott Kastner whose best known credits include "The Long Goodbye" Robert Altman 1973 "The Missouri Breaks" Arthur Penn 1976 and "Heat" Michael Mann 1996. Down on his luck news photographer Sear is offered a large payment to cover the secret exodus of 10000 Hungarian refugees across the border and finds himself embroiled in a game of international espionage. Blue untitled wrappers with die-cut title window in the British style. Title page present February 1972 with credits for screenwriter Ian La Frenais. 109 leaves with last page of text numbered 107. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with two flat metal brads. K.L.K. Films unknown
1968ref. 156925Burbank CA: Warner Brothers / Seven Arts 1968. Revised Estimating script for the 1969 film. Based on the 1961 novel by Frank O'Rourke. A genre-bending film combining a heist feature and a comedy Western in which multiple gangs converge on Friendly Texas in order to attempt to rob the most unrobbable bank in the West. Tan titled wrappers noted as REV. ESTIMATING SCRIPT on the front wrapper rubber-stamped copy No. 99 dated August 1 1968. Distribution page present with receipt intact. Title page present dated August 1 1968 with credits for screenwriter William Peter Blatty. 136 leaves with last page of text numbered 133. Mimeograph on yellow stock with pink Confidential page and white distribution page bound in at the front. Pages Fine wrapper Near Fine bound internally with two gold brads. Pitts 1631. Warner Brothers / Seven Arts unknown books
1966ref. 132892London: Warner-Pathe 1966. Collection of 3 vintage black-and-white still photographs from the 1966 UK release of the 1966 US film. Mimeograph snipes and distributor rubber-stamps on the versos. Patrick O'Neal stars as a vengeful killer who escapes death-by-execution ravaging the city of Baltimore on the hunt for those responsible for his incarceration. 8 x 10 inches. Faint toning and creasing overall else Near Fine. Warner-Pathe unknown books
1969ref. 152375N.p.: N.p. 1969. Vintage borderless reference photograph taken on the set of the 1969 film showing Kim Novak topless mid-costume change aided by two wardrobe ladies. Based on the 1961 novel. A genre-bending film combining heist comedy and Western genres in which multiple gangs converge on Friendly Texas in order to attempt to rob the most unrobbable bank in the West. 7.5 x 9.5 inches. Near Fine. N.p. unknown books
1968ref. 156925Burbank CA: Warner Brothers / Seven Arts 1968. Revised Estimating script for the 1969 film. Based on the 1961 novel by Frank O'Rourke. A genre-bending film combining a heist feature and a comedy Western in which multiple gangs converge on Friendly Texas in order to attempt to rob the most unrobbable bank in the West. Tan titled wrappers noted as REV. ESTIMATING SCRIPT on the front wrapper rubber-stamped copy No. 99 dated August 1 1968. Distribution page present with receipt intact. Title page present dated August 1 1968 with credits for screenwriter William Peter Blatty. 136 leaves with last page of text numbered 133. Mimeograph on yellow stock with pink Confidential page and white distribution page bound in at the front. Pages Fine wrapper Near Fine bound internally with two gold brads. Pitts 1631. Warner Brothers / Seven Arts unknown
1969ref. 152375N.p.: N.p. 1969. Vintage borderless reference photograph taken on the set of the 1969 film showing Kim Novak topless mid-costume change aided by two wardrobe ladies. Based on the 1961 novel. A genre-bending film combining heist comedy and Western genres in which multiple gangs converge on Friendly Texas in order to attempt to rob the most unrobbable bank in the West. 7.5 x 9.5 inches. Near Fine. N.p. unknown
1980ref. 158084Universal City: Universal Pictures 1980. Vintage screening invitation for the 1980 film illustrated by Ralph Steadman on the recto with film credits on the verso. More than a little loosely based on Hunter S. Thompson's obituary for his closest associate Oscar Zeta Acosta a.k.a. Dr. Gonzo "The Banshee Screams for Buffalo Meat" which appeared in October 1977 issue of "Rolling Stone." A film that despite being an unholy mess represents in retrospect an intersection of ideas and talent as well as the first of many messy attempts to commit to celluloid the basically un-filmable life and work of Hunter S. Thompson. Bill Murray at this time little more than a droll comedic sensation arguably made the first step toward becoming the four-dimensional icon he is today though not necessarily by intention. Both Murray and Thompson had serious concerns about the quality of Kaye's script and at the beginning of filming both Thompson and Ralph Steadman came onto the set as "executive consultants." Though the author says he did little other than "wander around and fire machine guns" his influence on Murray was profound. The actor became obsessed with his idol and by all accounts became one with him. During production Murray and Thompson engaged in a series of dangerous one-upmanship contests including a Houdini-inspired stunt where Thompson tied Murray to a chair and threw him into a swimming pool. Murray nearly drowned before Thompson pulled him out. The pair's obsession with the film's poor script and continuity led to a hasty final addition of a voice-over narration and two explanatory scenes at the film's end. Three days prior to release a press screening was canceled because the film was still being edited. When Murray returned to the Saturday Night Live set in the fall of 1980 he was still immersed in character complete with long black cigarette holder dark glasses and nasty habits. One of the show's writers said that Murray .".was not Bill Murray he was Hunter Thompson. You couldn't talk to him without talking to Hunter Thompson." Doug Hill and Jeff Weingrad "Saturday Night Live: A Backstage History" William Morrow 1989 3.75 x 9 inches with a satin finish recto and matte verso. Fine. Universal Pictures unknown books
1980ref. 158084Universal City: Universal Pictures 1980. Vintage screening invitation for the 1980 film illustrated by Ralph Steadman on the recto with film credits on the verso. More than a little loosely based on Hunter S. Thompson's obituary for his closest associate Oscar Zeta Acosta a.k.a. Dr. Gonzo "The Banshee Screams for Buffalo Meat" which appeared in October 1977 issue of "Rolling Stone." A film that despite being an unholy mess represents in retrospect an intersection of ideas and talent as well as the first of many messy attempts to commit to celluloid the basically un-filmable life and work of Hunter S. Thompson. Bill Murray at this time little more than a droll comedic sensation arguably made the first step toward becoming the four-dimensional icon he is today though not necessarily by intention. Both Murray and Thompson had serious concerns about the quality of Kaye's script and at the beginning of filming both Thompson and Ralph Steadman came onto the set as "executive consultants." Though the author says he did little other than "wander around and fire machine guns" his influence on Murray was profound. The actor became obsessed with his idol and by all accounts became one with him. During production Murray and Thompson engaged in a series of dangerous one-upmanship contests including a Houdini-inspired stunt where Thompson tied Murray to a chair and threw him into a swimming pool. Murray nearly drowned before Thompson pulled him out. The pair's obsession with the film's poor script and continuity led to a hasty final addition of a voice-over narration and two explanatory scenes at the film's end. Three days prior to release a press screening was canceled because the film was still being edited. When Murray returned to the Saturday Night Live set in the fall of 1980 he was still immersed in character complete with long black cigarette holder dark glasses and nasty habits. One of the show's writers said that Murray .".was not Bill Murray he was Hunter Thompson. You couldn't talk to him without talking to Hunter Thompson." Doug Hill and Jeff Weingrad "Saturday Night Live: A Backstage History" William Morrow 1989 3.75 x 9 inches with a satin finish recto and matte verso. Fine. Universal Pictures unknown
1941ref. 159940N.p.: N.p. 1941. Vintage publicity photograph of actor Humphrey Bogart from the 1941 film noir. From the archive of film historian and author Joel Finler. Based on the 1941 novel by W.R. Burnett who also co-wrote the screenplay with John Huston. A career criminal and a former taxi dancer become involved in a jewel heist in a small town in California's Sierra Nevada. A breakthrough film for Bogart and the film that kicked off a long period of collaboration between Bogart and John Huston. Shot on location in San Bernardino National Forest and Lone Pine. 8 x 10 inches. Very Good plus lightly and evenly age toned with brief wear at the top corners. Grant US. Lee The Heist Film. Penzler 101. Scorsese A Personal Journey Through American Movies. Selby US Canon. Silver and Ward Classic Noir. Spicer US. N.p. unknown books
1941ref. 159940N.p.: N.p. 1941. Vintage publicity photograph of actor Humphrey Bogart from the 1941 film noir. From the archive of film historian and author Joel Finler. Based on the 1941 novel by W.R. Burnett who also co-wrote the screenplay with John Huston. A career criminal and a former taxi dancer become involved in a jewel heist in a small town in California's Sierra Nevada. A breakthrough film for Bogart and the film that kicked off a long period of collaboration between Bogart and John Huston. Shot on location in San Bernardino National Forest and Lone Pine. 8 x 10 inches. Very Good plus lightly and evenly age toned with brief wear at the top corners. Grant US. Lee The Heist Film. Penzler 101. Scorsese A Personal Journey Through American Movies. Selby US Canon. Silver and Ward Classic Noir. Spicer US. N.p. unknown
1968ref. 126256N.p.: N.p. 1968. Original poster for the 1968 Cuban film. Humberto Solás' operatic sprawling epic dramatizing Cuba's history through the eyes of three women named Lucía living through three momentous periods of the country's history; 1895 1932 and postrevolutionary 1960s. Winner of the Golden Prize and the Prix FIPRESCI at the 6th Moscow International Film Festival 1969. 20 x 30 inches. Very Good plus with faint rubbing and light creasing. Bright and unfaded. Criterion Collection 1045. N.p. unknown books
