11,049 results
1979ref. 162749Hollywood: Paramount Pictures 1979. Shooting script for Season 2 Episode 14 of the 1979-1980 television series. Copy belonging to an unidentified cast or crew member with their name in manuscript ink on the front wrapper. Based on the classic 1976 film starring Walter Matthau about an alcoholic former minor-league baseball player who becomes the coach of an unsuccessful youth baseball team. In this episode the kids pressure Buttermaker to take them on a camping trip. Beige titled wrappers dated July 18 1979 noted as SHOOTING SCRIPT. Title page present dated July 18 1979 noted as SHOOTING SCRIPT with credits for screenwriter Paul Diamond and others. 39 leaves with last page of text numbered 35. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. Paramount Pictures unknown
1979ref. 162748Hollywood: Paramount Pictures 1979. Revised Shooting script for Season 2 Episode 13 of the 1979-1980 television series. Based on the classic 1976 film starring Walter Matthau about an alcoholic former minor-league baseball player who becomes the coach of an unsuccessful youth baseball team. In this episode a fight between Tanner and Amanda leads to a school-wide fight between boys and girls. Lime green titled wrappers dated July 12 1979 noted as REVISED SHOOTING SCRIPT. Title page present dated July 12 1979 noted as REVISED SHOOTING SCRIPT with credit for screenwriter Richard Rosenstock. 37 leaves with last page of text numbered 33. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. Paramount Pictures unknown
1962ref. 164225N.p.: Contempora Productions 1962. Vintage banner poster for the 1962 Cold War documentary film. Rare in this format. A feature length anti-Communist documentary comprised of still photographs and newsreel footage tracing the history of Communism from the birth of Karl Marx to the construction of the Berlin wall. The title was taken from the phrase famously used by Nikita Khruschchev while addressing Western ambassadors in 1956.which some modern translators have suggested was misinterpreted. 82 x 24 inches. Very Good with light creasing faint soiling a small chip to the bottom right corner and a seven inch closed tear to the center top repaired with cello-tape on the verso. Contempora Productions unknown books
1962ref. 164225N.p.: Contempora Productions 1962. Vintage banner poster for the 1962 Cold War documentary film. Rare in this format. A feature length anti-Communist documentary comprised of still photographs and newsreel footage tracing the history of Communism from the birth of Karl Marx to the construction of the Berlin wall. The title was taken from the phrase famously used by Nikita Khruschchev while addressing Western ambassadors in 1956.which some modern translators have suggested was misinterpreted. 82 x 24 inches. Very Good with light creasing faint soiling a small chip to the bottom right corner and a seven inch closed tear to the center top repaired with cello-tape on the verso. Contempora Productions unknown
1968ref. 152857Los Angeles: Paramount Pictures 1968. Vintage pressbook for the 1968 film. One of the best unsung crime films of the 1960s featuring Rod Steiger as a serial killer and master of disguise a role which proved to be one of his best. 15 pages saddle stitched 12.25 x 15 inches. Near Fine. Paramount Pictures unknown books
1960ref. 140101Hollywood: Paramount Pictures 1960. First Draft script for the 1961 film. With a typeover correction to the title page changing "The Beach Pad" to "Love in a Goldfish Bowl". Two unlikely friends at a small college are forbidden to associate with each other despite each being the other's protector. Neither wishes to spend Easter break with their respective families and instead devise a plan to spend the holiday at an empty beach house. Self-wrappers dated October 13 1960 noted as First Draft Screenplay rubber-stamped copy No. 120 with credits for screenwriter Jack Sher. 131 leaves with last page of text numbered 131. Mimeograph duplication with yellow and blue revision pages throughout dated variously between November 1 1960 and November 23 1960. Pages Very Good plus wrapper Very Good plus bound with three ring binding. Paramount Pictures unknown books
1960ref. 140101Hollywood: Paramount Pictures 1960. First Draft script for the 1961 film. With a typeover correction to the title page changing "The Beach Pad" to "Love in a Goldfish Bowl". Two unlikely friends at a small college are forbidden to associate with each other despite each being the other's protector. Neither wishes to spend Easter break with their respective families and instead devise a plan to spend the holiday at an empty beach house. Self-wrappers dated October 13 1960 noted as First Draft Screenplay rubber-stamped copy No. 120 with credits for screenwriter Jack Sher. 131 leaves with last page of text numbered 131. Mimeograph duplication with yellow and blue revision pages throughout dated variously between November 1 1960 and November 23 1960. Pages Very Good plus wrapper Very Good plus bound with three ring binding. Paramount Pictures unknown
ref. 18371The Writers' Guild of Great Britain 430 Edgware Road London. Two items on Pulman's letterhead 31 Steele's Road London. 1968. Six items relating to Pulman's arbitration including 'a careful breakdown by him of scene continuity of the Bourguignon script the Duncan script and the final shooting script' these three breakdowns Items Two to Four below totalling 8pp. In his four-page arbitration Pulman gives a detailed account of the process of the film's composition of all the more interest as coming from a master screenwriter and contemporary. All six items in good condition lightly aged. ONE: Carbon copy of Pulman's signed four-page 'Arbitration - "GIRL ON A MOTORCYLE" Writers involved - S. Bourguignon Ronald Duncan Jack Cardiff Gillian Freeman'. A full description of the case in fourteen numbered sections giving a great deal of detail regarding the composition of the script beginning with a list of six 'writing stages' and Pulman's reasons for reaching his conclusion. He describes the film as 'a story done very much in the style of “Un Homme et Une Femme” using a very similar continuity of flashback and throught sic track'. On reading through the material presented to him Pulman found that 'one impression emerged clearer than ever – that the final shooting script 6 differed very little from Bourguignon's adaptation which Cardiff says could “never be used on a professional basis.” To see whether this impression was correct or not I made a careful breakdown of scene continuity of the Bouguignon script the Duncan script and the final shooting script and compared them. These are enclosed with this opinion.' The are Items Two to Four below. He does not 'believe that anyone comparing these breakdowns could come to any conclusion other than that the screenplay credit belongs niether sic to Cardiff nor Duncan but solely to Bourguignon'. Since Bourguignon 'seems to be claiming no credit' he proposes to amend the credit to: 'SCREENPLAY by S. Bourguignon. Additional Scenes by Ronald Duncan and Jack Cardiff.' TWO: Two-page typescript headed 'Continuity - BOURGIGNON sic'. Twenty-four points beginning with 'Rebecca rises from her husband's bed puts on her black suit takes her motorcycle and sets off to see her lover Daniel.' Last point: '24. She leaves the cafe and gets on her motor cycle again. She is going very fast. She is killed in a collision.' THREE: Three-page typescript headed 'Ronald DUNCAN - Continuity. Second Draft'. Twenty-seven numbered points beginning with: '1. Rebecca rises from her husband's bed takes her black suit and motorcycle and sets off for her lover.' Last point: '27. She leaves the grass verge and drives on. She arrives at Daniels. He is not present but she sees the photo frame this time with the woman in it which is sic obviously always takes out when he visits her. She walks out of his life leaving the motor cycle there.' FOUR: Three-page typescript headed 'Continuity - Final Script Jack Cardiff'. Thirty-one points beginning with: '1. Rebecca asleep with her husband has a dream about him and Daniel.' Last point: '31. She leaves the grass verge and gets back on the road again. Thinking of Daniel she has a collision with a car and is killed.' FIVE: Copy of typed 'postscript to my opinion dated 29th April 1968' by Pulman. On his letterhead. Dated 6 May 1968. 1p. 4to. Amending his proposed credit following a discussion 'at some length with Dick Sharples' to 'Screenplay by - RONALD DUNCAN Adapted by - JACK CARDIFF'. SIX: Copy of letter from Alan Griffiths General Secretary of the Writers' Guild to Stuart Freeman 14 May 1968. 1p. 4to. With Griffiths' compliments slip. [ The Writers' Guild of Great Britain, 430 Edgware Road, London. ] Two items on Pulman's letterhead, 31 Steele's Road, London. 1 unknown
1932ref. 25270Doubleday Doran Garden City NY 1932. HB NODJ 1st edition 1932 Dates Match on Title & Copyright page Early Issue VG-/VG AS-IS NOJACKET X-LIBRARY MAY CO. Usual Wear Stamps Usage Interior nice tight light Wear FOX Black Cloth with Decorated & Titled Spine cover of Woman in Black & Green 308 pgs INDEX . She hates every Step because it separates Her farther From Her Love. Pure Fiction but against Background of Hollywood. First Edition. Hard Cover. Doubleday, Doran , Garden City NY hardcover
1967ref. 164229Culver City CA: Columbia Pictures 1967. Vintage 30" x 40" poster for the US release of the 1967 British anthology horror film. The second Horror anthology or "portmanteau" film from Amicus Productions following the 1965 film "Dr. Terror's House of Horrors" also directed by Freddie Francis a trademark of producer Milton Subotsky and written by "Psycho" screenwriter Robert Bloch who adapted his own work for the screenplay. A group of visitors to Dr. Diablo's Burgess Meredith sideshow are each shown their futures in the sideshow's "blow-off" which includes cannibal cats haunted pianos and the reincarnation of Edgar Allan Poe. 27 x 41 inches. Very Good plus with light creasing and edgewear and closed tears to the center right margin. Columbia Pictures unknown books
1967ref. 164229Culver City CA: Columbia Pictures 1967. Vintage 30" x 40" poster for the US release of the 1967 British anthology horror film. The second Horror anthology or "portmanteau" film from Amicus Productions following the 1965 film "Dr. Terror's House of Horrors" also directed by Freddie Francis a trademark of producer Milton Subotsky and written by "Psycho" screenwriter Robert Bloch who adapted his own work for the screenplay. A group of visitors to Dr. Diablo's Burgess Meredith sideshow are each shown their futures in the sideshow's "blow-off" which includes cannibal cats haunted pianos and the reincarnation of Edgar Allan Poe. 27 x 41 inches. Very Good plus with light creasing and edgewear and closed tears to the center right margin. Columbia Pictures unknown
1987ref. 152834N.p.: Taft Entertainment / Keith Barish Productions 1987. Second Draft script for the 1987 film. Based on the Pulitzer Prize winning 1983 novel by William Kennedy who also wrote the screenplay about an alcoholic drifter who returns to his hometown to meet his lover and drinking companion. Nominated for two Academy Awards. White titled wrappers. Title page present dated March 17 1987 noted as Second Draft with credit for Kennedy and director Hector Babenco. Taft Entertainment / Keith Barish Productions unknown books
1975ref. 167105N.p.: N.p. 1975. Vintage borderless reference photograph of actors Maria Schneider and Jack Nicholson on the set of the 1975 film. A cynical war correspondent in northern Africa assumes the identity of a deceased arms dealer to gain information for his documentary. Antonioni's final film in a loose trilogy as well as a three-picture contract with Metro-Goldwyn-Mayer following "Blowup" 1966 and "Zabriskie Point" 1970. Set in Chad shot on location in Germany Spain and England. 8 x 10 inches. Near Fine. Rosenbaum 1000. N.p. unknown books
1981ref. 164216N.p.: N.p. 1981. Vintage reference photograph of director Bob Rafelson and actor Jack Nicholson on the set of the 1981 film. Provenance stamp on the verso. Based on the 1939 novel by James M. Cain. Along with "The Verdict" a film that brought writer David Mamet to the attention of the filmmaking world leading to his working not only as a screenwriter but an important director. 10 x 8 inches. Near Fine. Silver Classic Noir. Spicer US. N.p. unknown books
1981ref. 161079Los Angeles: Paramount Pictures 1981. Vintage borderless studio still photograph taken on the set of the 1981 film showing director Bob Rafelson actors Jack Nicholson and Jessica Lange cinematographer Sven Nykvist and other crew members gathered around a monitor. Partial provenance label and annotations in manuscript ink on the verso. Based on the 1939 novel by James M. Cain. One of the gems of late 1970s cinema along with "The Verdict" that brought writer David Mamet to the attention of the filmmaking world leading to his working not only as a screenwriter but an important director. 9.75 x 8 inches. Very Good plus. Silver Classic Noir. Spicer US. Paramount Pictures unknown books
1971ref. 150760Culver City CA: Columbia Pictures 1971. Complete set of eight studio still photographs from the 1971 film. Based on screenwriter Jeremy Larner's 1964 novel. Jack Nicholson's directorial debut a key film in the BBS Productions cycle of the early 1970s following several college students navigating Vietnam War protests uncertain romantic relationships and their own dubious futures after graduation. Shot on location at the University of Oregon and throughout Eugene Oregon. 10 x 8 inches. Near Fine. Criterion Collection 547. Columbia Pictures unknown books
1971ref. 139058Culver City CA: Columbia Pictures 1971. Vintage Australian insert poster for the 1971 US film. Printed by Robert Burton Pty. in Sydney. Based on screenwriter Larner's 1964 novel. Nominated for the Palme d'Or and a key film in the BBS Productions cycle of the early 1970s as well as a New Hollywood film albeit lesser-known. Hector Tepper plays college basketball superbly but his lover Olive Black has reservations about their relationship. All the while Hector's friend Gabriel Margotta contemplates and protests the Vietnam War. Nicholson's directorial debut after astonishing performances in "Easy Rider" 1969 and "Five Easy Pieces" 1970. Shot on location at the University of Oregon and throughout the state. 12.75 x 30 inches folded twice as issued. Very Good plus with light toning brief edge creasing and a few central tears. Scarce. Criterion Collection 547. Columbia Pictures unknown books
1971ref. 170347Culver City CA: Columbia Pictures 1971. Vintage studio still photograph from the 1971 film showing director Jack Nicholson looking through the script with Karen Black and William Tepper. Annotations in manuscript pencil on the verso. Based on screenwriter Jeremy Larner's 1964 novel. Nicholson's directorial debut a key film in the BBS Productions cycle of the early 1970s following several college students navigating Vietnam War protests uncertain romantic relationships and their own dubious futures after graduation. Shot on location at the University of Oregon and throughout Eugene Oregon. 10 x 8 inches. Near Fine. Columbia Pictures unknown books
1971ref. 156265Culver City CA: Columbia Pictures 1971. Two vintage reference photographs from the 1971 film both showing William Tepper in basketball garb one in the locker room and one on the court. Based on screenwriter Jeremy Larner's 1964 novel. Jack Nicholson's directorial debut a key film in the BBS Productions cycle of the early 1970s following several college students navigating Vietnam War protests uncertain romantic relationships and their own dubious futures after graduation. Shot on location at the University of Oregon and throughout Eugene Oregon. 10 x 8 inches. Near Fine. Criterion Collection 547. Columbia Pictures unknown books
1971ref. 170347Culver City CA: Columbia Pictures 1971. Vintage studio still photograph from the 1971 film showing director Jack Nicholson looking through the script with Karen Black and William Tepper. Annotations in manuscript pencil on the verso. Based on screenwriter Jeremy Larner's 1964 novel. Nicholson's directorial debut a key film in the BBS Productions cycle of the early 1970s following several college students navigating Vietnam War protests uncertain romantic relationships and their own dubious futures after graduation. Shot on location at the University of Oregon and throughout Eugene Oregon. 10 x 8 inches. Near Fine. Columbia Pictures unknown
1971ref. 156265Culver City CA: Columbia Pictures 1971. Two vintage reference photographs from the 1971 film both showing William Tepper in basketball garb one in the locker room and one on the court. Based on screenwriter Jeremy Larner's 1964 novel. Jack Nicholson's directorial debut a key film in the BBS Productions cycle of the early 1970s following several college students navigating Vietnam War protests uncertain romantic relationships and their own dubious futures after graduation. Shot on location at the University of Oregon and throughout Eugene Oregon. 10 x 8 inches. Near Fine. Criterion Collection 547. Columbia Pictures unknown
1971ref. 150760Culver City CA: Columbia Pictures 1971. Complete set of eight studio still photographs from the 1971 film. Based on screenwriter Jeremy Larner's 1964 novel. Jack Nicholson's directorial debut a key film in the BBS Productions cycle of the early 1970s following several college students navigating Vietnam War protests uncertain romantic relationships and their own dubious futures after graduation. Shot on location at the University of Oregon and throughout Eugene Oregon. 10 x 8 inches. Near Fine. Criterion Collection 547. Columbia Pictures unknown
1971ref. 139058Culver City CA: Columbia Pictures 1971. Vintage Australian insert poster for the 1971 US film. Printed by Robert Burton Pty. in Sydney. Based on screenwriter Larner's 1964 novel. Nominated for the Palme d'Or and a key film in the BBS Productions cycle of the early 1970s as well as a New Hollywood film albeit lesser-known. Hector Tepper plays college basketball superbly but his lover Olive Black has reservations about their relationship. All the while Hector's friend Gabriel Margotta contemplates and protests the Vietnam War. Nicholson's directorial debut after astonishing performances in "Easy Rider" 1969 and "Five Easy Pieces" 1970. Shot on location at the University of Oregon and throughout the state. 12.75 x 30 inches folded twice as issued. Very Good plus with light toning brief edge creasing and a few central tears. Scarce. Criterion Collection 547. Columbia Pictures unknown
1987ref. 152834N.p.: Taft Entertainment / Keith Barish Productions 1987. Second Draft script for the 1987 film. Based on the Pulitzer Prize winning 1983 novel by William Kennedy who also wrote the screenplay about an alcoholic drifter who returns to his hometown to meet his lover and drinking companion. Nominated for two Academy Awards. White titled wrappers. Title page present dated March 17 1987 noted as Second Draft with credit for Kennedy and director Hector Babenco. Taft Entertainment / Keith Barish Productions unknown
1975ref. 167105N.p.: N.p. 1975. Vintage borderless reference photograph of actors Maria Schneider and Jack Nicholson on the set of the 1975 film. A cynical war correspondent in northern Africa assumes the identity of a deceased arms dealer to gain information for his documentary. Antonioni's final film in a loose trilogy as well as a three-picture contract with Metro-Goldwyn-Mayer following "Blowup" 1966 and "Zabriskie Point" 1970. Set in Chad shot on location in Germany Spain and England. 8 x 10 inches. Near Fine. Rosenbaum 1000. N.p. unknown
