'Part of the fun is trying to guess what the ending might be. The challenge was to let the audience know in a way that wouldn't upset them that there wasn't going to be an ending. To switch off the expectation. . . . To mesmerize the audience, I had to experiment with rhythm. Too slow and the film would become indulgent. You would see the wheels turning.' -- Peter Weir
Pure Hollywood with Class and Brains:CHINATOWN - One of the best that's ever been done in Hollywood during the last 30 years.
THE GODFATHER - Among the great American films of all time. The screenplay's out of print -- of course -- in an inexpensive edition. But at least it's in Best American Screenplays 3 along with seven other scripts [so that's only about $6.25 US a script]. And nobody ever says, "I liked the novel better."
THE ENGLISH PATIENT - One of the best examples of successful adaptation of a very complex novel.
MOONSTRUCK - A wonderfully romantic, bizarre, and moving original by one of America's noted playwrights.
Hollywood knows how to do it when it wants to. . .
With an Independent FlavorMANHATTAN - Woody Allen's best work by far -- still. And
ANNIE HALL is next.
FARGO - It has all the feel of the best independent film making.
RAISING ARIZONA - The weirdest of the lot, is a practical lesson in writing well within the real constraints of low or modest production budgets.
PULP FICTION - It probably belongs in the "Hollywood" category, but it has all the characteristics of the best writing for independent film.
DINER - A classic independent affair, drawn directly from the screenwriter's memories of his young adult years in Baltimore.
The independents are where the best writing is now . . .
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