evan hunter screenwriter (10 resultados)

Vintage studio still photograph from the 1972 film, showing actors Burt Reynolds and Jack Weston in disguise as nuns. Printed mimeo snipe affixed to the verso. Based on the 1968 novel by Evan Hunter writing as Ed McBain, about a group of four detectives investigating a vicious murder-extortion racket. Set and shot on location in Boston. 8 x 10 inches. Very Good plus, lightly toned.

Vintage studio photograph of Glenn Ford from the 1955 film. Based on the 1954 novel "The Blackboard Jungle" by Ed McBain and starring Glenn Ford as Richard Dadier, a new teacher at a violent inner city school, determined to do right and make a difference, challenging both the staff and the students. A brilliant performance by a young Sidney Poitier as student Gregory Miller in an early breakout role. Nominated for 4 Academy Awards including Best Writing. 8 x 10 inches. Very Good, 2 small closed tears in margins and a large chip at the top right corner (see image). Vogel, Film as a Subversive Art. Scorsese, A Personal Journey Through American Movies. National Film Registry.

Vintage studio still photograph from the 1966 film, showing actor James Garner jumping down from a wall. Based on the 1964 novel "Buddwing" by Evan Hunter, about a man who suddenly wakes up in Central Park with no memory of his own identity or life. Set and shot on location in New York City. 10 x 8 inches. Very Good plus overall, with pinholes to the corners.

Vintage black-and-white still photograph from the 1972 UK release of the 1972 US film. Mimeograph snipe and layout annotations on the verso. Written for the screen by Evan Hunter, based on his 87th Precinct novel (writing as Ed McBain), about detectives Steve Carella, Meyer Meyer, and Bert Kling investigating a murder-extortion racket run by a mysterious deaf man (played by Yul Brynner). Shot on location in Boston, Massachusetts. 8 x 10 inches. Faint creases, else Near Fine.

Estado de la sobrecubierta: dj. Draft script for the 1963 Japanese film. Text and titles in Japanese. A legendary Japanese noir, based on American author Ed McBain's 1959 novel "King's Ransom." A wealthy industrialist is contacted by a gang of crooks who inform him that they have kidnapped his son, and are holding him hostage in exchange for an enormous ransom. The industrialist soon realizes, however, that the boy they have taken is in fact the son of his chauffeur-and must decide whether he will bankrupt himself and his family in order to save a child that is not his own. A nuanced portrait of a man facing the potential destruction of his future, further elevated by morally ambiguous characters and the gritty realism of its world. The fifteenth, and penultimate, film that leading actor Toshiro Mifune would make with director Akira Kurosawa, and one of the highest grossing Japanese films of 1963, breaking Kurosawa's box office record for the third time. Shot on location in Kanagawa, Japan. White titled perfect-bound wrappers, dated 1962, with a protective titled dust jacket. Approximately 94 leaves, with last page of text numbered e-37. Mimeograph duplication, printed on rectos and versos. Pages Very Good plus, wrapper Very Good plus, with light foxing on the top and bottom page edges. Jacket Very Good, with moderate foxing on the extremities. Criterion Collection 24. Grant Japan. Selby Japan. Spicer Japan.

Archive of six Revised Draft scripts for the 1958 three-part television episode, which originally aired on June 25, 1958, on NBC. Collection includes three scripts noted as Acts I-III, and one script duplicate of Act I only, and two scripts compiling all three acts. Also included are two typescript pages, noting story outlines for a proposed "87th Precinct" television series. Each script signed by screenwriter Larry Cohen, and three scripts with manuscript pencil and ink annotations by Cohen throughout, noting deletions and substantive revisions. "Kraft Theatre" was a dramatic anthology television series which aired on NBC from 1947 to 1958. In this installment, loosely based on Ed McBain's "87th Precinct" novel series, a solitary widow whose frequent calls to the police to report a burglar are usually ignored turns up dead in her apartment. An early venture for screenwriter Larry Cohen, who would go on to write Blaxploitation films "Bone" (1972), "Black Caesar" (1973), and "Hell Up in Harlem" (1973), as well as several popular horror and science fiction films, including "It's Alive" (1974), "God Told Me To" (1976), and "The Stuff" (1985). Set and shot on location in New York. Act I Revised Script, with pencil annotation on the front wrapper: Self wrappers. Title page present, noted as REVISED, dated 6/17/58, with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 30 leaves, with last page of text numbered I-24. Mimeograph duplication, rectos only. Pages Very Good plus, with the last leaf detached from the binding, partially bound with a single staple to the top left corner. Act II Revised Script: Self wrappers. Title page present, noted as REVISED, dated 6/17/58, with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 43 leaves, with last page of text numbered II-68. Mimeograph duplication, rectos only. Pages Near Fine, partially bound with a single staple to the top left corner. Act III Revised Script: Self wrappers. Title page present, noted as REVISED, dated 6/17/58, with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 34 leaves, with last page of text numbered III-103. Mimeograph duplication, rectos only. Pages Near Fine, partially bound with a single staple to the top left corner. Act I Revised Script, with no pencil annotation on the front wrapper: Self wrappers. Title page present, noted as REVISED, dated 6/17/58, with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 30 leaves, with last page of text numbered I-24. Mimeograph duplication, rectos only. Pages Near Fine, partially bound with a single staple to the top left corner. Complete script: Lacking wrappers and title page, possibly as issued. 144 leaves, with last page of text numbered III-136. Mimeograph duplication, rectos only. Pages Near Fine, partially bound with a single staple to the top left corner. Revised complete script: Lacking and title page, possibly as issued. 94 leaves, with last page of text numbered III-87. Mimeograph duplication, rectos only. Pages Near Fine, partially bound with a single staple to the top left corner.

Vintage studio still photograph from the 1969 film, showing Barbara Hershey sunning herself in a bikini. Based on the 1968 Evan Hunter (aka Ed McBain) novel of the same name. Three teens bond while spending a summer on Fire Island. When they're joined by a fourth, the dynamic between the trio is thrown, causing one to become increasingly jealous and unstable. Set and shot on location in Long Island, New York. 8 x 10 inches. Near Fine, light edgewear.

Vintage studio still photograph from the 1963 film, showing director Alfred Hitchcock's cameo in the film, passing Tippi Hedren in a doorway while walking two small dogs. Hitchcock's last great film, a grim psychological study, made all the more terrifying by the lack of motivation assigned to its violence. Shot in various locations throughout California, including Bodega Bay, Bloomfield, Valley Ford, the Venice Canals, and Union Square in San Francisco. 8 x 10 inches. Near Fine. National Film Registry. Clover, Men, Women, and Chainsaws. Godard, Histoires du cinema.

Vintage borderless reference photograph from the 1963 film, showing director Alfred Hitchcock talking with electronic musician Oskar Sala, who composed the film's iconic soundtrack. Printed mimeo snipe in French affixed to the verso. Hitchcock's last great film, a grim psychological study, made all the more terrifying by the lack of motivation assigned to its violence. Shot in various locations throughout California, including Bodega Bay, Bloomfield, Valley Ford, the Venice Canals, and Union Square in San Francisco. 7.5 x 9.5 inches. Very Good plus. National Film Registry. Clover, Men, Women, and Chainsaws. Godard, Histoire(s) du cinema.

Archive of three title card maquettes hand lettered by Harold Adler for the 1963 film. Also included are two fascinating autograph letters, both elaborately designed and executed in a calligraphic style, from Adler to author, illustrator, and editor Fridolf Johnson relating to Adler's work with Hitchcock. Harold Adler was a calligrapher who created hand lettered titles on over 100 films, worked frequently with Alfred Hitchcock, and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "The Birds" (1963), his credits include "Comanche!" (1956), "The Man with the Golden Arm" (1955), "The Seven Year Itch" (1955), "Carmen Jones" (1954), "Psycho" (1960), "In the Heat of the Night" (1967), and "Justine" (1969). In 2012, an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation, Kansas City. In the first letter, dated May 16, 1986, Adler describes, after touching on other topics, meeting Hitchcock and then presenting him with layout ideas for the titles. He then goes into detail regarding his answer to a question about the techniques of artist Eric Gill, stating that Hitchcock "was amazed" by this answer, and after that would "request 'to be sure to bring that nice you[ng] man along" (meaning Adler) whenever he had a job for Adler's firm. The second letter, dated June 10th, 1986, focuses almost exclusively on Adler's work on "The Birds," going into some detail regarding both the creative and technical processes of producing hand lettered titles for films. He also describes Hitchcock as "an unusual person to work with. He was a master at what he did, knew what he wanted [and] smoked the finest cigars." He then concludes the letter with some brief remarks on how his approach to title lettering evolved over the course of his career. The letters themselves are works of art, executed in a variety of inks in Adler's detailed penmanship, with Johnson's name on each in particular receiving full calligraphic treatment. Also included are draft title cards for the film, stylistically similar to each other, but much different from the titles used in the finished film. Two of the cards are marked as "camera ready" in manuscript colored pencil, with titles executed in white paint on black board. The third card, photo stat on black paper, which accompanied the June 10th letter, has been annotated by Adler on both the recto and verso, explaining the in more detail the technical process of putting the lettering on film. Overall, a significant collection of material illuminating a little explored aspect of film design, with a direct and significant connection to a seminal work by a director known for personally overseeing all aspects of production. Each letter 19 x 24 inches, single leaf, rectos only. May 16th letter folded twice for mailing, June 10th letter folded. Two long diagonal creases to the May 16th letter, else both are Fine. Original mailing envelope for the May 16th letter included. "Camera ready" title cards 22 x 14 inches. Lightly rubbed and about Near Fine. Third card 18 x 4 inches. Near Fine. National Film Registry. Clover, Men, Women, and Chainsaws. Godard, Histoires du cinema.