screenwriters."—TONY apparently emphasis

Recommendations

Info

"A much-needed book."—FRANK PIERSON, Academy Award-winning screenwriter;president, Writers Guild of America, West"The basics of the craft in terms simple enough to enable any beginner todevelop an idea into a submittable script."—American Cinematographer"A much-needed book... straightforward and informed ... accurate andclear, and should be enormously helpful to novices."—Fade-In"The complete primer, a step-by-step guide from the first glimmer of anidea to marketing the finished script."—New West"Experienced advice on story development, creation and definition ofcharacters, structure of action, and direction of participants. Easy-tofollowguidelines and a commonsense approach mark this highly usefulmanual."—Video"Great advice for screenwriters. I always tell young writers to pick upScreenplay and read it right away—then either embrace it or rebel againstit, but it'll certainly get your mind turning in the right ways."—DAVID KOEPP, award-winning writer, director,Spider-Man, Secret Window, War of the WorldsTHE SCREENWRITER'S WORKBOOK:Exercises and Step-by-Step Instruction for Creatinga Successful Screenplay"One of the standards in the industry."—Amazon.comSELLING A SCREENPLAY:The Screenwriter's Guide to Hollywood"A wonderful book that should be in every filmmaker's library."—HOWARD KAZANJIAN, producer, Raiders of the Lost Ark,Return ofthejedi, Demolition Man"An informative, engaging look at the inside of the dream factory. This isa terrific aid for screenwriters who are trying to gain insight into theHollywood system."—DAVID KIRKPATRICK, producer, former head of Paramount Pictures
FOUR SCREENPLAYS:Studies in American Screenplay"A book that writers will stand in line for and studio executives willXerox." —JAMES L. BROOKS, Academy Award-winning writer, director,producer"What does it take to write a great script? You'll find the answer here....This is Field's masterpiece and a required purchase for all film collections."—LibraryJournal"A first-rate analysis of why good screenplays work: a virtual must for aspiringscreenwriters."—LINDA OBST, producer, How to Lose a Guy in Ten Days,Sleepless in Seattle"A fascinating view into the most overlooked process of filmmaking."—MICHAEL BESMAN, producer, About Schmidt"Theory comes alive with this hands-on approach to what makes fourgreat screenplays tick."—DEBORAH JELIN NEWMYER, producer, executive vice president,Amblin Entertainment"Four Screenplays is not only Syd Field's most instructive book ... it's themost fun to read."—ANNA HAMILTON PHELAN, screenwriter, Girl, Interrupted"One of the very best books I have read on movies or screenplays. Sydwrites both with passion and an astute understanding."—HANS ZIMMER, film composer, Gladiator,The Last Samurai, Thelma & LouiseTHE SCREENWRITER'S PROBLEM SOLVER:How to Recognize, Identify, and Define Screenwriting Problems"Whatever your problem, screenwriting guru Syd Field can help."—Amazon.com
Page 3: PRAISE FOR SYD F I E L D"[Syd Field
Page 7 and 8: A l s o by S y d F i e l dGOING TO
Page 9 and 10: SCREENPLAYA Delta BookPUBLISHING HI
Page 12: A SPECIAL THANKSTo the extraordinar
Page 15: TO THE READER:My task ... is to mak
Page 18 and 19: 2 —SCREENPLAY—desire to write s
Page 20 and 21: 4 —SCREENPLAY—On Saturday after
Page 22 and 23: 6 —SCREENPLAY—People say I was
Page 24 and 25: 8 —SCREENPLAY—But when all is s
Page 26 and 27: 10 —SCREENPLAY —visual descript
Page 28 and 29: 12 —SCREENPLAY —What is a good
Page 30 and 31: 14 —SCREENPLAY-a screenplay from
Page 32 and 33: 16 —SCREENPLAY—During the two a
Page 34 and 35: 18 —SCREENPLAY —marriage. So he
Page 36 and 37: 20 —SCREENPLAY —a story told wi
Page 38 and 39: 22 —SCREENPLAY—dialogue and des
Page 40 and 41: 24 —SCREENPLAY—In Chinatown (Ro
Page 42 and 43: 26 —SCREENPLAY—ACT III IS RESOL
Page 44 and 45: 28 —SCREENPLAY —looks like. Any
Page 46 and 47: 30 —SCREENPLAY—Think about the
Page 48 and 49: 32 —SCREENPLAY—floor. It lent a
Page 50 and 51: 34 —SCREENPLAY —only what the f
Page 52 and 53: 36 —SCREENPLAY—subject will fin
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38 —SCREENPLAY—and the first ma
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40 —SCREENPLAY-ActionSUBJECTI I I
Page 58 and 59:
42 —SCREENPLAY—As an exercise,
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44 —SCREENPLAY—It's a profound
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46 —SCREENPLAY—been the instiga
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48 —SCREENPLAY—Butch mutters to
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50 —SCREENPLAY —the same themes
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52 —SCREENPLAY —his identity, n
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54 —SCREENPLAY —they work it ou
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56 —SCREENPLAY—reveal them by s
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158 —SCREENPLAY—I'll even use p
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60 —SCREENPLAY—I write a lot ab
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62 —SCREENPLAY —Dundee's (Charl
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64 —SCREENPLAY —their motivatio
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66 —SCREENPLAY —believe in God.
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68 —SCREENPLAY —gold. Both Abby
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70 —SCREENPLAY—when he comes ho
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72 —SCREENPLAY —that the same t
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^Story andCharacter"You don't throw
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76 —SCREENPLAY —"Okay," I say,
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78 —SCREENPLAY —Sarah's family
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80 —SCREENPLAY —We decide it's
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82 —SCREENPLAY—stimulate, a dra
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84 —SCREENPLAY —Let's create an
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86 —SCREENPLAY—Sarah is congrat
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88 —CREENPLAY—create your chara
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90 —SCREENPLAY—ends. We talked
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92 —SCREENPLAY—way. I had good
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94 —SCREENPLAY —he managed to g
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96 —SCREENPLAY —another look at
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98 —SCREENPLAY—reads"; producer
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100 —SCREENPLAY —when an ice cu
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102 —SCREENPLAY—you would like
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104 —SCREENPLAY —you're writing
Page 122 and 123:
Setting Up theStory"I'll tell you t
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108 —SCREENPLAY —well as many o
Page 126 and 127:
110 —SCREENPLAY —sets up the st
Page 128 and 129:
112 —SCREENPLAY—Curly slides on
Page 130 and 131:
114 —SCREENPLAY-CURLY (crying) Th
Page 132 and 133:
116 —SCREENPLAY-MRS. MULWRAYMr. G
Page 134 and 135:
118 —SCREENPLAY —GITTES(visibly
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120 —SCREENPLAY-COUNCILMAN(acknow
Page 138 and 139:
122 —SCREENPLAY —wouldn't take
Page 140 and 141:
124 —SCREENPLAY—another source
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126 —SCREENPLAY—Watch Chinatown
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128 —SCREENPLAY —mental, and em
Page 146 and 147:
130 —SCREENPLAY—story line is p
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132 —SCREENPLAY—Alabama, carryi
Page 150 and 151:
134 —SCREENPLAY —the ring to th
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136 —SCREENPLAY—The key inciden
Page 154 and 155:
138 —SCREENPLAY—inciting incide
Page 156 and 157:
140 —SCREENPLAY —words and thei
Page 158 and 159:
"Writing a screenplay is in many wa
Page 160 and 161:
144 —SCREENPLAY—in, linear or n
Page 162 and 163:
146 —SCREENPLAY—Vincent's brief
Page 164 and 165:
148 —SCREENPLAY—woman. He takes
Page 166 and 167:
150 —SCREENPLAY —tails Evelyn t
Page 168 and 169:
152 —SCREENPLAY —In The Matrix,
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154 —SCREENPLAY —One." In other
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156 —SCREENPLAY—finishing up he
Page 174 and 175:
158 —SCREENPLAY—episode, or eve
Page 176 and 177:
The SceneRICK:"Inside both of us, w
Page 178 and 179:
162 —SCREENPLAY —The scene is t
Page 180 and 181:
164 —SCREENPLAY—wife was having
Page 182 and 183:
166 —SCREENPLAY—the famous "sla
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168 —SCREENPLAY —the scene "aga
Page 186 and 187:
170 —SCREENPLAY —Within the con
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172 —SCREENPLAY-No,MAX not justth
Page 190 and 191:
174 —SCREENPLAY-VINCENT (CONT'D)C
Page 192 and 193:
176 —SCREENPLAY-VINCENT (CONT'D)D
Page 194 and 195:
178 —SCREENPLAY-MAX (CONT'D)Go fu
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180 —SCREENPLAY —freeway, ruini
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182 -SCREENPLAY —scene. Find the
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184 —SCREENPLAY—action and char
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186 —SCREENPLAY—The final actio
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188 —SCREENPLAY —with nonstop a
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190 —SCREENPLAY —French Connect
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192 —SCREENPLAY —hell breaks lo
Page 210 and 211:
194 —SCREENPLAY-BOOM. BOOM. BOOM.
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196 —SCREENPLAY —rising among t
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198 —SCREENPLAY-connected by one
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200 —SCREENPLAY—Now what?Take a
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202 —SCREENPLAY—Act IIIbeginnin
Page 220 and 221:
204 -SCREENPLAY —One scene per ca
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206 —SCREENPLAY—The essence of
Page 224 and 225:
208 —SCREENPLAY —unit of action
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210 -SCREENPLAY —Lovell (Tom Hank
Page 228 and 229:
212 —SCREENPLAY —you'll pick up
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214 —SCREENPLAY —treatment can
Page 232 and 233:
216 —SCREENPLAY—Because he was
Page 234 and 235:
218 —SCREENPLAY —ask them why,
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220 —SCREENPLAY —(1) EXT. ARIZO
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222 —SCREENPLAY —Line 4—Doubl
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224 —SCREENPLAY —Bochco, Julie
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226 —SCREENPLAY—Knowing these t
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228 —SCREENPLAY —A long Quonset
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230 —SCREENPLAY —(4)RYAN (on TV
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232 —SCREENPLAY-STRUTin the tow-b
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234 —SCREENPLAY-STRUT talks into
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236 —SCREENPLAY-RYAN pushes the e
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Writing theScreenplayBAGBY:"Gentlem
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240 —SCREENPLAY—That depends on
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242 —SCREENPLAY—ones in body, b
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244 —SCREENPLAY—discover the sa
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246 —SCREENPLAY —whether it's w
Page 264 and 265:
248 —SCREENPLAY —Many times you
Page 266 and 267:
250 —SCREENPLAY—you've got to d
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252 —SCREENPLAY —should be writ
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254 —SCREENPLAY—get something d
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256 —SCREENPLAY-about it and he d
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258 —SCREENPLAY—intact even aft
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260 —SCREENPLAY —Ted Tally, the
Page 278 and 279:
262 —SCREENPLAY—this incredible
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264 —SCREENPLAY —Merry and Pipp
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266 —SCREENPLAY—the book by Car
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268 —SCREENPLAY —sense to a mem
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270 — S C R E E N P L A Y —Beca
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272 — S C R E E N P L A Y —repo
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274 —SCREENPLAY —trying to brin
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276 —SCREENPLAY—"Art," Renoir s
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278 — S C R E E N P L A Y —proc
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280 — S C R E E N P L A Y —proc
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282 —SCREENPLAY —character? Wha
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284 —SCREENPLAY —he e-mailed it
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286 —SCREENPLAY —magnify what's
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288 — S C R E E N PLAY—to expla
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290 —SCREENPLAY—you can probabl
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292 —SCREENPLAY —to the beginni
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294 —SCREENPLAY—Production of a
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296 —SCREENPLAY —film called Co
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298 —SCREENPLAY —If you submit
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300 —SCREENPLAY—don't receive a
Page 318 and 319:
302 — S C R E E N PLAY—gross at
Page 320 and 321:
304 —SCREENPLAY —rights are not
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306 — S C R E E N PLAY—unique a
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308 —SCREENPLAY —In the long ru
Page 327 and 328:
Indexaction films, 187-98Act I (Set
Page 329 and 330:
— INDEX— 313matching to existin
Page 331 and 332:
— INDEX — 315Gone With the Wind
Page 333 and 334:
— INDEX — 317Parker, Dorothy, 2
Page 335 and 336:
— INDEX — 319Shark Tale, 276Sha
Page 337:
SYD FIELD is the internationally ac
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screenwriters."—TONY apparently emphasis

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