4,062 results
1998ref. 141593Santa Monica: Artisan Entertainment 1998. Draft script for the 1999 film. With a single notation in manuscript ink on the front wrapper. Based on the 1958 novel by Richard Matheson. A man is hypnotized by his sister-in-law leading to haunted visions and the complete breakdown of his family life. Set in Chicago shot on location there. Yellow titled self wrappers dated August 14 1998 with credits for screenwriter David Koepp and author Richard Matheson. Title page integral with front wrapper. 116 leaves with last page of text numbered 113. Xerographic duplication with yellow and pink revision pages throughout dated variously between September 9 1998 and September 18 1998. Pages Near Fine wrapper Near Fine bound with two gold brads. Artisan Entertainment unknown
1958ref. 139533Culver City CA: Columbia Pictures 1958. Vintage oversize double weight borderless still photograph from the 1958 film of a stone faced David Niven and smiling Deborah Kerr water skiiing on a break from filming on the French Riviera. Based on the 1954 novel by Francoise Sagan. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp and a lengthily manuscript description of the scene on the verso. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 14 x 9.5. Near Fine with light edgewear. Columbia Pictures unknown
1981ref. 139508Universal City CA: Universal Pictures 1981. Vintage oversize double weight borderless still photograph from the 1981 film. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp on the verso. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 13.25 x 9.25 inches. Near Fine. Universal Pictures unknown
1970ref. 139510Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1970. Vintage oversize double weight borderless still photograph from the 1970 film showing director David Lean as he imparts some advice to star Christopher Jones during a smoke break. Winner of two Academy Awards for cinematographer Freddie Young and supporting actor John Mills. Nominated for two more as well as ten BAFTA awards. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp on the verso. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 9.25 x 13.25 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown
1978ref. 150021N.p.: N.p. 1978. Two vintage borderless reference photographs shot on the set of the 1978 film one showing Robert Altman behind the camera and one showing Altman and Carol Burnett in conversation. In a style that Altman invented and had by this time more than mastered a mishmash of overlapping stories all centering around a middle-class wedding in the American South told over the course of a single day. 8 x 10 inches. Near Fine. N.p. unknown
1959ref. 140945France: Compagnie Cinematographie de France 1959. Vintage borderless press photograph from the 1959 film showing director Robert Bresson on a Paris metro set going over a script while actor Martin LaSalle and crew look on. With the stamp of French photo agency Dalmas and manuscript pencil annotations regarding layout and identifying the image on the verso. Bresson's first wholly original screenplay as opposed to one adapted from existing material perhaps the finest of his many fine films and according to one of its greatest champions Paul Schrader "as close to perfect as a film can be." 5 x 7.25 inches. Near Fine. Criterion Collection 314. Ebert I. Godard Histoires du cinema. Rosebaum 1000. Schrader 4. Compagnie Cinematographie de France unknown
1969ref. 147017London: Columbia British Productions 1969. Draft script for the 1970 British film. Cinematographer Douglas Slocombe's name written and underlined in manuscript ink on the title page as well as an encircled "71" in red manuscript marker. Based on Janice Elliott's 1967 novel about cousins born on the same day to twin sisters. Inseparable and maybe in love they agree to find suitable romantic partners for each other. Nominated for the Palme d'Or. Set in and shot on location in England Spain and Sweden. ornamental embossed titled wrapper. Title page present dated 1969 with credits for screenwriter Peter Draper and novelist Janice Elliott. PAGES leaves with last page of text numbered 111. Mimeograph duplication rectos only. Pages Near Fine wrapper Very Good plus bound internally with three flat metal brads. Columbia British Productions unknown
1975ref. 171761N.p.: N.p. 1975. Three vintage studio still photographs from the 1975 film. One with layout annotations in manuscript pencil on the verso. An experimental portrait of American citizens of various stripes-indigenous people immigrants hippies activists and more-as they reflect on changing life in the 1970s. Directors John Douglas and Robert Kramer were previously associated with Newsreel a revolutionary filmmaking collective founded in New York in 1967. 8 x 10 inches. Near Fine with light soil and toning to the margins. N.p. unknown
1945ref. 143451Universal City CA: Universal Pictures 1945. Vintage photograph on the set of the 1944 film noir showing director Robert Siodmak conferring with star Stanley Ridges while some extras relax behind them. With a mimeo snipe and date stamp of "12 Apr 1945" on the verso. Based on the 1939 novel "This Way Out" by James Ronald about an unhappily married man who falls in love with a younger woman only to be investigated by a Scotland Yard detective when his wife dies in what appears to be an accident. 10 x 8 inches. Very Good plus with light diagonal creasing to the corners and a slight curl. Grant US. Selby US. Silver and Ward Classic Noir. Spicer US. Universal Pictures unknown
1970ref. 136662Universal City CA: Universal Pictures 1970. Seven borderless black-and-white reference photographs from the set of the film shot in April 1960. Five of the six remarkable photographs show Wise both in the desert and in the midst of the elaborate sets designed to simulate the film's massive underground laboratory. With printed snipes on the verso of each photograph. 7.25 x 9.5 inches. Near Fine. Vogel Film as a Subversive Art. Universal Pictures unknown
1995ref. 135826London: Independent Television 1995. Draft scripts for four episodes of the 1996 television show "Delta Wave:" "A Twist of Lemming: Part 1" "A Twist of Lemming: Part 2" "A Glitch in Time: Part 1" and "A Glitch in Time: Part 2." A television show about two children with psycho-kinetic powers and their scientist caretaker. The show ran for only ten episodes containing five storylines featuring the title characters separated into two episodes each. This listing is for two complete storylines: "A Twist of Lemming" and "A Glitch in Time." Set in Cambridge England. "A Twist of Lemming: Part One:" Tall white self wrappers as issued with credits for screenwriter Pressman. Title page integral with the first page of the text dated 14/08/95 with credits for screenwriter Pressman. 65 leaves with last page of text numbered 65. Mechanical duplication. Pages Near Fine wrapper Near Fine prong binding. "A Twist of Lemming: Part Two:" Tall white self wrappers as issued with credits for screenwriter Pressman. Title page integral with the first page of the text dated 14/08/95 with credits for screenwriter Pressman. 70 leaves with last page of text numbered 70. Mechanical duplication. Pages Near Fine wrapper Near Fine prong binding. "A Glitch in Time: Part One:" Tall white self wrappers as issued with credits for screenwriter Pressman. Title page integral with the first page of the text dated 14/08/95 with credits for screenwriter Pressman. 62 leaves with last page of text numbered 62. Mechanical duplication. Pages Near Fine wrapper Near Fine bound prong binding. "A Glitch in Time: Part Two:" Tall white self wrappers as issued with credits for screenwriter Pressman. Title page integral with the first page of the text dated 14/08/95 with credits for screenwriter Pressman. 73 leaves with last page of text numbered 73. Mechanical duplication. Pages Near Fine wrapper Near Fine prong binding. Independent Television unknown
1968ref. 149124N.p.: N.p. 1968. Vintage reference photograph of Roman Polanski and Mia Farrow in front of the flagship Tiffany & Co. store on Fifth Ave New York City during the filming of the 1968 film. Based on the 1967 novel by Ira Levin. A seminal horror film one of the best genre pictures ever made from the earliest days of the New Hollywood cinema bringing together newcomer Roman Polanski as director established producer William Castle young star Mia Farrow and Hollywood veteran John Cassavetes. Winner of the Academy Award for Best Supporting Actress for Ruth Gordon and nominated for Best Screenplay. Set and shot on location in New York City. 10 x 8 inches. Near Fine National Film Registy. Clover Men Women and Chainsaws. Criterion Collection 630. Rosenbaum 1000. N.p. unknown
1925ref. 137138Beverly Hills CA: United Artists 1925. Vintage reference photograph from the set of the 1925 film with a mimeo snipe and photographer's stamp on the verso. Based on the unfinished 1832 novel "Dubrovsky" by Alexander Pushkin. A posed shot showing director Brown and stars Valentino and Banky with painter Federico Beltran Masses a well known figure in Hollywood because of his friendship with William Randolph Hearst. 10 x 8 inches. Very Good with diagonal chips missing from two corners but the image largely unaffected. United Artists unknown
1989ref. 139236France: Eve Productions 1989. Original French grande poster for the 1989 release of the 1970 US film. Scarce. A small-town border sheriff and marijuana smuggler sets out to kill a rival drug dealer while his girlfriend has a dalliance with another woman. The first Meyer film to feature full frontal male nudity a rarity even in sexploitation films at the time and quite the introduction to soon-to-be Meyer's regular Charles Napier. Meyer shot several new sequences late in production about a quarter of the film's runtime either to replace footage lost by a photo lab or because an actress left the shoot early the reason is disputed. The new sequences unrelated to the original ones give the film an almost surreal quality leading Roger Ebert to call it "possibly the only narrative film ever made without a narrative." The film was one of the most successful of Meyer's career leading him to return to and refine this style in subsequent films peaking with Beneath the Valley of the Ultra-Vixens in 1979. 47 x 63 inches folded as issued. Near Fine. Eve Productions unknown
1965ref. 152052California: Eve Productions 1965. Vintage pressbook for the 1965 film. The final film in Russ Meyer's "noir" cycle 1964-1965 or "Gothic" period as Meyer puts it a series of sexploitation films shot in black and white with powerful and vengeful female characters male impotence and a serious dramatic plot involving less of the "nudie" filmmaking style so prominent in the director's early films. One of the first films to discuss post-traumatic stress disorder in a Vietnam War veteran. Six pages saddle stitched 11 x 17 inches. Folded once horizontally. Very Good plus overall. Eve Productions unknown
1959ref. 152047Hollywood: Pad-Ram Enterprises 1959. Vintage pressbook for the 1959 film. A door-to-door dental appliance salesman has a chemical reaction to an anesthetic which grants him X-ray vision as in "seeing through women's clothes." He subsequently overcomes all of his inhibitions leading to ribald encounters with his dental nurse his therapist his secretary a girl in a bar etc. Russ Meyer's first feature produced by Pad-Ram Enterprises a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie the film that basically launched the lighthearted nudie pictures of the early 1960s. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television Meyer and DeCenzie who spent years on the burlesque and nightclub circuits released an independent naturally sexy endeavor in the tradition of the great Chaplin films. For his debut Meyer did even more of the crew work than usual shooting in four days during the spring of 1958 with a budget of $24000 ultimately making over $1.5 million worldwide. The film was marketed as a "Frenchy" "nudist" film but exhibited all the distinctive traits for which Meyer would soon become known including large bosoms insane plots an arguably feminist perspective campy dialogue and guerilla cinematography. Shot on location in various California destinations including Malibu Lagoon State Beach. One leaf bi-fold. 11 x 17 inches. Very Good plus overall. Pad-Ram Enterprises unknown
2011ref. 170195Burbank CA: Warner Brothers 2011. Revised Draft script for the 2013 film with rainbow revision pages throughout. Based on the 2012 book "Gangster Squad: Covert Cops the Mob and the Battle for Los Angeles" by Paul Lieberman. A dramatization of the formation of the "Gangster Squad" a team of Los Angeles police officers and detectives tasked with taking down a prominent crime boss. Set in 1949 Los Angeles shot on location in Los Angeles. White untitled front wrapper lacking rear wrapper. Title page present dated September 8 2011 noted as FULL PINK with credits for Lieberman and screenwriter Will Beall. 142 leaves with last page of text numbered 133. Xerographic duplication rectos only with rainbow revision pages throughout dated variously between September 8 and November 22 2011. Pages Near Fine wrapper Near Fine bound with two gold brads. Silver and Ursini American Neo-Noir. Warner Brothers unknown
1955ref. 150449N.p.: N.p. 1955. Two vintage reference photographs of director Sacha Guitry on the set of the 1955 film taken by photographer Edward Quinn. "Ed. Quinn" stamps on verso of both one with additional "Cinema Napoleon" stamp. Guitry's historical epic depicting the life of Napoleon from his early life in Corsica to his death at Saint Helena with Napoleon depicted by two actors Daniel Gelin as the young and Raymond Pellegrin as the old. Featuring notable cameos by Erich von Stroheim as Ludwig van Beethoven and Orson Welles as Napoleon's British jailor Sir Hudson Lowe. Shot on location throughout France. 7 x 9.75 inches. Light edgewear and light creasing at extremities else Near Fine. N.p. unknown
1952ref. 135865Los Angeles: Lippert Pictures 1952. Draft script for the 1952 film. Copy belonging to an uncredited crew member with brief annotations in manuscript pencil on the verso of the last page of text and on a few pages. An unusual story for a low-budget Western: a tough woman gambler named Iron Mae McLeod Windsor runs a town where law states that men are illegal. The tough McLeod is soon caught in the lusty lasso of Woody Callaway Rober a handsome and persistent cowboy. The Poverty Row studio Lippert Pictures lasted nearly two decades 1948-1969 and would resurface as the production company for "Don't Do It" 1994. Notable films produced or distributed by Lippert include "Jungle Goddess" 1948 "I Shot Jesse James" 1949 forgotten films noir like "Radar Secret Service" and "Motor Patrol" both 1950 Samuel Fuller's "The Steel Helmet" 1951 Sam Newfield's "Lost Continent" 1951 and Terence Fisher's classic Hammer noir "Man Bait" 1952. Blue untitled wrappers. Title page integral with first page of text undated with a credit for screenwriter Hampton. 115 leaves with last page of text numbered 115. Mimeograph duplication. Pages and wrapper Near Fine bound with three gold brads. Hardy The Western p. 218. Okuda 486. Lippert Pictures unknown
1957ref. 154819Los Angeles: Twentieth Century-Fox 1957. Two vintage studio still photographs from the 1957 film. In 1954 during the Vietnam conflict a smuggler named "Lucky Legs" and a group of French mercenaries infiltrate and destroy an arms depot near the Chinese border. 10 x 8 inches. Near Fine. Olive Films 566. Twentieth Century-Fox unknown
1984ref. 137587Hollywood: The Ladd Company 1984. Original press kit for the 1984 Italian-American film. Included in the press kit are 24 black-and-white still photographs including one photograph of director Sergio Leone biographies of select cast and crew final credits production information and insight into Leone's process. Based on Harry Grey's 1952 novel "The Hoods." David Aaronson De Niro is a former Prohibition-era Jewish gangster who after thirty years of absence returns to Manhattan where he confronts the foibles of his past and the painful truth of his life to date. Actress Jennifer Connelly's film debut and director Leone's final film a film that like his similarly titled 1968 classic "One Upon a Time in the West" remains one of his few American productions. Film stills various sizes. Biographies credits and production information printed on 8 x 10 leaves corner-stapled rectos only. Stills and printed leaves Near Fine house in a Very Good plus full-color 9 x 12 studio single-pocket folder. The Ladd Company unknown
1985ref. 141111N.p.: N.p. 1985. Revised Draft script for the 1985 play. Copy belonging to Peter Mark Richman who played the character of Lewis in this production with his name in manuscript ink on the front wrapper and annotations throughout in manuscript ink. The story of a screenwriter living in Los Angeles who can not seem to finish any screenplays and thus is haunted by his unfinished characters including Adolf Eichmann a gorilla and a blue-collar worker named "The Raincoat." Steve Shagan was a critically acclaimed novelist playwright and screenwriter who came to prominence working on the television series "Tarzan." Throughout his long career he was nominated for both Academy Awards and Emmy Awards. Set in Los Angeles. Tan untitled wrappers. Title page present noted as Revised Draft with credits for playwright Steve Shagan. 101 leaves with last page of text numbered 98. Mechanical duplication. Pages Near Fine wrapper Near Fine bound with two gold brads. N.p. unknown
1967ref. 150475Burbank CA: Warner Brothers 1967. Vintage studio still photograph of director Stuart Rosenberg and actor Paul Newman on the set of the 1967 film. With manuscript ink annotations on the verso. Based on the 1965 novel by Donn Pearce who co-wrote the screenplay about a convict who wins a bet to eat 50 hard-boiled eggs in an hour and later suffers a failure of communication with the warden. Winner of a Best Supporting Actor Academy Award for George Kennedy and nominated for three others including Best Adapted Screenplay and Best Actor for Newman. 10 x 8 inches. Very Good plus with a light horizontal crease affecting the lower portion of the image. National Film Registry. Ebert III. Warner Brothers unknown
1983ref. 163380Los Angeles: Twentieth Century-Fox 1983. Final script for the 1984 film. An aspiring country music star bets the owner of a nightclub that she can turn an ill-mannered New York cab driver into a singer. Set in New York and Tennessee shot on location in Santa Clarita and Piru California and in Leipers Fork Tennessee. Gray titled Twentieth Century-Fox wrappers dated September 22 1983 on the front wrapper. Title page present dated September 22 1983 noted as FINAL with credits for screenwriters Sylvester Stallone and Phil Alden Robinson. 133 leaves with last page of text numbered 107. Xerographic duplication on eye-rest green stock rectos only with rainbow revision pages throughout dated variously between 9/28/83 and 1/24/84. Pages about Fine wrapper Near Fine bound with two gold brads. Twentieth Century-Fox unknown
1983ref. 170264N.p.: Arkoff International 1983. Final Shooting script for the 1984 comedy film seen here under the working title "Rafts." With rainbow revision pages throughout. Four undergraduates are blackmailed into competing in a collegiate raft race facing off against cheating Ivy League students military academy saboteurs and an amorous all-women team. Red untitled wrappers with the release title noted in manuscript pencil on the front wrapper. Title page present dated May 3 1983 noted as Final Shooting Script with credit for screenwriter Jim Kouf. 127 leaves with last page of text numbered 111. Xerographic duplication rectos only with rainbow revision pages throughout dated variously between August 4 and 18 1983. Pages Very Good plus with moderate foxing throughout wrapper Very Good plus bound with two gold brads. McPadden Teen Movie Hell 335. Arkoff International unknown
