Joel Farges (screenwriter)Biblio.com
11,160 results
1977ref. 141292N.p.: N.p. 1977. Draft script for an unproduced film. Text in French. Laid in are a three-page synopsis of the film and a letter from the screenwriter. In the winter of 1934 a French woman living by the seaside with two mysterious older men gets wrapped up in the politics of the times ultimately forcing all three to reveal their true identities. Set in France. Tan titled wrappers. 81 leaves with last page of text numbered 80. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound with two staples. N.p. unknown
1977ref. 141292N.p.: N.p. 1977. Draft script for an unproduced film. Text in French. Laid in are a three-page synopsis of the film and a letter from the screenwriter. In the winter of 1934 a French woman living by the seaside with two mysterious older men gets wrapped up in the politics of the times ultimately forcing all three to reveal their true identities. Set in France. Tan titled wrappers. 81 leaves with last page of text numbered 80. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound with two staples. N.p. unknown books
1984ref. 159116N.p.: N.p. 1984. Second Draft script for an unproduced film using the hook from singer-songwriter John Cougar Mellencamp's 1983 song "Pink Houses" as its moniker. Annotation in manuscript ink on the title page noting copy No. 20. An unproduced drama about unemployed steelworkers in western Pennsylvania by acclaimed screenwriter and director Frank Pierson. Pierson was the writer of "Dog Day Afternoon" 1975 winner of the Academy Award for Best Screenplay and co-writer of "Cool Hand Luke" 1967 "Cat Ballou" 1965 and "A Star is Born" 1976 among many others. Pierson served as the President of the Writers Guild of America West for two terms in the 1980s and 1990s and was also associated with the American Film Institute the Academy of American Motion Picture Arts and Sciences and the Sundance Film Festival. Considered by many to be one of the best unproduced still-unfilmed screenplays written in the wake of an April 1984 "Pittsburgh Post-Gazette" magazine article about the spate of films about American milltowns. Orange untitled wrappers. Title page present dated June 7 1984 noted as SECOND DRAFT with credit for screenwriter Frank Pierson. 133 leaves with last page of text numbered 132. Xerographic duplication rectos only. Pages Very Good plus wrapper Near Fine with light offsetting on the last page of the script. Bound internally with three gold brads. N.p. unknown
1984ref. 159116N.p.: N.p. 1984. Second Draft script for an unproduced film using the hook from singer-songwriter John Cougar Mellencamp's 1983 song "Pink Houses" as its moniker. Annotation in manuscript ink on the title page noting copy No. 20. An unproduced drama about unemployed steelworkers in western Pennsylvania by acclaimed screenwriter and director Frank Pierson. Pierson was the writer of "Dog Day Afternoon" 1975 winner of the Academy Award for Best Screenplay and co-writer of "Cool Hand Luke" 1967 "Cat Ballou" 1965 and "A Star is Born" 1976 among many others. Pierson served as the President of the Writers Guild of America West for two terms in the 1980s and 1990s and was also associated with the American Film Institute the Academy of American Motion Picture Arts and Sciences and the Sundance Film Festival. Considered by many to be one of the best unproduced still-unfilmed screenplays written in the wake of an April 1984 "Pittsburgh Post-Gazette" magazine article about the spate of films about American milltowns. Orange untitled wrappers. Title page present dated June 7 1984 noted as SECOND DRAFT with credit for screenwriter Frank Pierson. 133 leaves with last page of text numbered 132. Xerographic duplication rectos only. Pages Very Good plus wrapper Near Fine with light offsetting on the last page of the script. Bound internally with three gold brads. N.p. unknown books
1951ref. 146074Universal City: Universal International Pictures 1951. Post-production Continuity and Dialogue script for the 1951 film. A group of new recruits arrive at an Air Force training camp and experience the usual growing pains: hazing romance and rivalry. An early appearance by Golden Age heartthrob Rock Hudson as an aggressive upperclassman. Shot on location in Arizona Florida and Texas. White titled self wrappers noted as CONTINUITY & DIALOGUE on the front wrapper noted as production No. 1653 dated JANUARY 31 1951 with credits for actors Stephen McNally Gail Russell Alex Nicol and other cast members. Title page integral with the front wrapper as issued. 136 leaves with last page of text numbered REEL TEN PAGE 13. Mimeograph duplication rectos only. Pages Near Fine wrapper Very Good plus with some fading to the top left and right edges bound with two gold brads. Universal International Pictures unknown
1950ref. 146066Universal City: Universal International Pictures 1950. Treatment script for the 1951 film. Copy belonging to Universal-International film executive Leo Spitz with his name in manuscript ink on the front wrapper. A group of new recruits arrive at an Air Force training camp and experience the usual growing pains: hazing romance and rivalry. An early appearance by Golden Age heartthrob Rock Hudson as an aggressive upperclassman. Shot on location in Arizona Florida and Texas. Blue titled wrappers noted as TREATMENT on the front wrapper rubber-stamped production No. 7718 dated March 21 1950. Title page present noted as Treatment with credits for screenwriter Robert W. Soderberg. 78 leaves with last page of text numbered 77. Mimeograph duplication on yellow stock rectos only with yellow revision pages throughout dated variously between 3/16/50 and 3/18/50. Pages Near Fine wrapper Very Good plus bound at the top left corner with one gold brad. Universal International Pictures unknown
1951ref. 146074Universal City: Universal International Pictures 1951. Post-production Continuity and Dialogue script for the 1951 film. A group of new recruits arrive at an Air Force training camp and experience the usual growing pains: hazing romance and rivalry. An early appearance by Golden Age heartthrob Rock Hudson as an aggressive upperclassman. Shot on location in Arizona Florida and Texas. White titled self wrappers noted as CONTINUITY & DIALOGUE on the front wrapper noted as production No. 1653 dated JANUARY 31 1951 with credits for actors Stephen McNally Gail Russell Alex Nicol and other cast members. Title page integral with the front wrapper as issued. 136 leaves with last page of text numbered REEL TEN PAGE 13. Mimeograph duplication rectos only. Pages Near Fine wrapper Very Good plus with some fading to the top left and right edges bound with two gold brads. Universal International Pictures unknown books
1950ref. 146066Universal City: Universal International Pictures 1950. Treatment script for the 1951 film. Copy belonging to Universal-International film executive Leo Spitz with his name in manuscript ink on the front wrapper. A group of new recruits arrive at an Air Force training camp and experience the usual growing pains: hazing romance and rivalry. An early appearance by Golden Age heartthrob Rock Hudson as an aggressive upperclassman. Shot on location in Arizona Florida and Texas. Blue titled wrappers noted as TREATMENT on the front wrapper rubber-stamped production No. 7718 dated March 21 1950. Title page present noted as Treatment with credits for screenwriter Robert W. Soderberg. 78 leaves with last page of text numbered 77. Mimeograph duplication on yellow stock rectos only with yellow revision pages throughout dated variously between 3/16/50 and 3/18/50. Pages Near Fine wrapper Very Good plus bound at the top left corner with one gold brad. Universal International Pictures unknown books
1995ref. 166472Santa Monica: Beacon Communications 1995. Draft script for the 1997 film. Communists hijack Air Force One with the First Lady and her daughter onboard forcing the president to decide whether he will break his vow never to capitulate to terrorist demands or sacrifice the lives of his family. Nominated for two Academy Awards. Shot on location in Washington DC throughout California and in Cleveland and Mansfield Ohio in the US and in Moscow Russia. Self wrappers. Title page present dated August 22 1995 with credit for screenwriter Andrew W. Marlowe. 132 leaves with last page of text numbered 131. Xerographic duplication rectos only. Pages Very Good plus bound with three gold brads. Beacon Communications unknown
1954ref. 146381N.p.: N.p. 1954. Draft script for a US Air Force training video. Script belonging to an uncredited cast member apparently cast in the role of the narrator with his name in manuscript ink on the front wrapper and manuscript pencil and ink annotations throughout. Laid in with the script are two pieces of paper with drawings of flight patterns ostensibly to be used during production and a paper fragment noting addresses names and other details. A three-part training video for Air Force pilot instructors. Set on the Orlando Air Force Base in Orlando Florida. Blue titled wrappers noted as PROJECT NO. 19130 on the front wrapper. Title page present dated 6 MAY 1954 noted as PROJECT NO. 19130 with credits for writer Nat S. Linden and a number of tech advisors. 79 leaves with last page of text numbered 70. Mimeograph duplication rectos only. Pages Very Good plus wrapper Very Good plus with light dampstaining and edgewear. N.p. unknown
1954ref. 146381N.p.: N.p. 1954. Draft script for a US Air Force training video. Script belonging to an uncredited cast member apparently cast in the role of the narrator with his name in manuscript ink on the front wrapper and manuscript pencil and ink annotations throughout. Laid in with the script are two pieces of paper with drawings of flight patterns ostensibly to be used during production and a paper fragment noting addresses names and other details. A three-part training video for Air Force pilot instructors. Set on the Orlando Air Force Base in Orlando Florida. Blue titled wrappers noted as PROJECT NO. 19130 on the front wrapper. Title page present dated 6 MAY 1954 noted as PROJECT NO. 19130 with credits for writer Nat S. Linden and a number of tech advisors. 79 leaves with last page of text numbered 70. Mimeograph duplication rectos only. Pages Very Good plus wrapper Very Good plus with light dampstaining and edgewear. N.p. unknown books
1995ref. 166472Santa Monica: Beacon Communications 1995. Draft script for the 1997 film. Communists hijack Air Force One with the First Lady and her daughter onboard forcing the president to decide whether he will break his vow never to capitulate to terrorist demands or sacrifice the lives of his family. Nominated for two Academy Awards. Shot on location in Washington DC throughout California and in Cleveland and Mansfield Ohio in the US and in Moscow Russia. Self wrappers. Title page present dated August 22 1995 with credit for screenwriter Andrew W. Marlowe. 132 leaves with last page of text numbered 131. Xerographic duplication rectos only. Pages Very Good plus bound with three gold brads. Beacon Communications unknown books
1970ref. 139848Universal City CA: Universal Pictures 1970. Vintage borderless studio still photograph from the 1970 film. The harbringer of what would be a decade full of disaster films packed with Hollywood actors metaphorically in search of a way to revive their careers in the wake of a crumbling studio system. Nonetheless and perhaps by accident a film that is as entertaining today as it was when it was released. Nominated for 9 Academy Awards including Best Picture Best Screenplay and Best Cinematography and winner of one Best Actress going to Helen Hayes. Shot on location in Minnesota and California. 7 x 9 inches. Fine. Universal Pictures unknown books
1969ref. 133199N.p.: N.p. 1969. Vintage oversize double weight candid photograph of Alan Arkin Art Garfunkel and Martin Sheen on the set of Mike Nichols' "Catch-22" in 1969. Shot and struck by the film's still photographer Bob Willoughby. The photographer has written at the top of the verso in manuscript pencil: "Candid during rehearsal / The boys break up in briefing room scene / Art Garfunkel Alan Arkin Martin Sheen." Also with Willoughby's ASMP rubber stamp for both his New York and Ireland addresses. 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. In a custom museum-quality frame archivally mounted with UV glass. 13.5 x 10 inches. Near Fine. National Film Registry. N.p. unknown
1969ref. 133199N.p.: N.p. 1969. Vintage oversize double weight candid photograph of Alan Arkin Art Garfunkel and Martin Sheen on the set of Mike Nichols' "Catch-22" in 1969. Shot and struck by the film's still photographer Bob Willoughby. The photographer has written at the top of the verso in manuscript pencil: "Candid during rehearsal / The boys break up in briefing room scene / Art Garfunkel Alan Arkin Martin Sheen." Also with Willoughby's ASMP rubber stamp for both his New York and Ireland addresses. 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. In a custom museum-quality frame archivally mounted with UV glass. 13.5 x 10 inches. Near Fine. National Film Registry. N.p. unknown books
1961ref. 160411N.p.: Europ-Films 1961. Vintage French poster for the 1961 Hungarian film seen here under the French title "Les cignognes s'envolent a l'aube." Based on a true love affair between a Hungarian doctor and a Russian girl during World War II. A man recalls through flashback the parting words of a woman "I'll Come Back." Director Mihaly Szemes' best-known film winner of a Silver Prize at the 2nd Moscow International Film Festival 1961. Shot on location in Hungary. 22.5 x 30 inches. Folded as issued. Near Fine. Europ-Films unknown
1963ref. 143919Paris: Ucinex 1963. Original Moyenne medium poster for the 1963 French release of the 1961 Hungarian film seen here under the French title "Les cigognes s'envolent a l'aube." Numerical notation on the verso in manuscript pencil. Based on a true love affair between a Hungarian doctor and a Russian girl during World War II. Director Mihaly Szemes' best-known film winner of a Silver Prize at the second Moscow International Film Festival in 1961. 22.25 x 30 inches folded as issued. About Near Fine lightly creased with toning at the folds. Ucinex unknown
1961ref. 160411N.p.: Europ-Films 1961. Vintage French poster for the 1961 Hungarian film seen here under the French title "Les cignognes s'envolent a l'aube." Based on a true love affair between a Hungarian doctor and a Russian girl during World War II. A man recalls through flashback the parting words of a woman "I'll Come Back." Director Mihaly Szemes' best-known film winner of a Silver Prize at the 2nd Moscow International Film Festival 1961. Shot on location in Hungary. 22.5 x 30 inches. Folded as issued. Near Fine. Europ-Films unknown books
1963ref. 143919Paris: Ucinex 1963. Original Moyenne medium poster for the 1963 French release of the 1961 Hungarian film seen here under the French title "Les cigognes s'envolent a l'aube." Numerical notation on the verso in manuscript pencil. Based on a true love affair between a Hungarian doctor and a Russian girl during World War II. Director Mihaly Szemes' best-known film winner of a Silver Prize at the second Moscow International Film Festival in 1961. 22.25 x 30 inches folded as issued. About Near Fine lightly creased with toning at the folds. Ucinex unknown books
1963ref. 143918Paris: Ucinex 1963. Original pressbook for the 1963 French release of the 1961 Hungarian film here under the French title. Black-and-white film stills surround a brief synopsis with dramatic portrait images of Samoylova and film distribution and publicity credits. Based on a true love affair between a Hungarian doctor and a Russian girl during World War II. Hajnal Gabor recalls through flashback the parting words of the girl Samoylova "I'll Come Back." Direcot Szemes best-known film winner of a Silver Prize at the 2nd Moscow International Film Festival 1961. Single sheet folded once vertically 9.5 x 12.5 inches. Very Good overall with small tears creases and light foxing. Ucinex unknown books
ref. 9293in 12 broché à l’italienne couverture illustrée en couleurs de MARIJAC, 20 pages Editions SEPA 4/1946.les chasseurs de tête-Steve Evans –Rouletabosse par MARIN. Très bon état
ref. 9294in 12 broché à l’italienne couverture illustrée en couleurs de MARIJAC, 20 pages Editions SEPA .Chasse à l’homme au pays des Jivaros. Steve Evans –Rouletabosse par MARIN. Très bon état
ref. 9295in 12 broché à l’italienne couverture illustrée en couleurs de MARIJAC, 20 pages Editions SEPA . Prisonnier des pirhanas. Steve Evans –Rouletabosse et fend la bise par MARIN. Très bon état
ref. 9292in 12 broché à l’italienne couverture illustrée en couleurs de MARIJAC, 20 pages Editions SEPA 12/1945.Face au monstre. Steve Evans –Jim et Jo les joyeux marins. Petit frottement au deuxième plat état
1970ref. 149801Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1970. Archive of five vintage oversize double weight photographs from the 1970 film four of which are borderless. One photograph SIGNED and dated 1969 by photographer Alan Pappe on the verso all photographs with his stamp. All five photographs feature legendary Italian director Federico Fellini in his cameo role as himself with one showing the director on the set with a clapboard and crew members in front of him while a second features a manuscript pencil annotation describing Fellini and actor Donald Sutherland discussing a scene with an out-of-frame director Paul Mazursky. Pappe worked as a film still and press photographer for 30 years photographing a who's who of film and music stars including iconic images of Sharon Tate Jimi Hendrix and Liza Minnelli as well as album cover for the "Grease" soundtrack album and the interior images of Jefferson Airplane's "After Bathing at Baxter's." His 1972 "Time" magazine cover photograph of Minnelli in "Cabaret" is part of the permanent collection of the Smithsonian's National Portrait Gallery. A young filmmaker struggles to come up with ideas for new film after his previous commercial and critical success while ruminating on his past present and possible futures. One photograph 11 x 11 inches four photographs roughly 14 x 11 or 11 x 14 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown
